Add cron container for daily backups and content export
- Add cron service to docker-compose with backup (3 AM) and export (4 AM) schedules - Remove redundant content/articles/ and content/curriculum/ (now in Outline, exported to content/wiki/) - Fix env var mismatch: support both OUTLINE_API_KEY and OUTLINE_API_TOKEN - Drop updatedAt from export frontmatter to reduce noisy commits - Add backups/ to gitignore
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@ -29,3 +29,6 @@ conflict-files-obsidian-git.md
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# Project docs (local only)
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# Project docs (local only)
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/docs
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/docs
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/migration
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/migration
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# Database backups (large binary files)
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/backups
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@ -1,75 +0,0 @@
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---
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title: Actionable Steam Metrics
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description: ''
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category: strategy
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tags: []
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accessLevel: public
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author: Baby Ghosts
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publishedAt: '2025-11-10T10:42:09.227Z'
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---
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# Actionable Steam metrics
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_Jennie: I want to share some tips from a recent workshop at GamePlay Space on Steam metrics. I hope my notes are helpful!_
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**Wednesday, Nov 9 with Alden Kroll (Valve)**
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How to use reporting within Steam to make decisions as you deploy and ship your game.
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### Understanding Steam data sites
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Alden highlighted three main Steam portals that offer data on game performance:
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|Portal|Description|
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|---|---|
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|**Sales and Activations Reports portal**|Your go-to once you have a store page for your game. It helps you track performance indicators like sales, players, and wishlists. Only useful once you have a store page for your game. _Provides a "near real-time view into revenue, units, player counts, geographic breakdown, and other statistics related to your product."_
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|**Steamworks**|A handy tool for monitoring game traffic, visibility, and builds usage.|
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|**Steam charts**|Offers a global perspective with charts, stats, and reports.|
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### Pre-release data gathering
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Pre-release is all about understanding the **potential audience** and the **market landscape**. Here are some things Alden recommended you pay attention to:
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|Metric|Description|
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|---|---|
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|Hardware survey|Steam's platform-wide data can guide technical requirements, like screen resolution, languages, and hardware compatibility.|
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|Tag pages|Use these for **market research**, identifying trends in successful games, their features, scope, qualities, price points, and presentation styles.|
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|Wishlists|Key to **gauging awareness** and building an audience to engage upon release and during discounts. They can also provide platform-specific stats and indicate long-term growth trends. Lifetime conversion shows up after 3 months. Cohorts: long term cohort growth indicates price sensitive users waiting for a better deal.|
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|Regional wishlists|Localization ideas can be drawn from regional wishlist data. To access this, head to sales and activations reports, select your game, and click on *Regional sales report*.|
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|[UTM tracking](https://partner.steamgames.com/doc/marketing/utm_analytics)|This tool helps measure the impact of external marketing like streamer and press outreach. Chris Zukowski's guide on [how to use Steam’s UTM feature](https://howtomarketagame.com/2021/04/14/how-to-use-steams-utm-feature-to-track-the-number-of-wishlists-and-sales-your-marketing-is-generating/) was recommended for more info.|
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|Steam playtest|The playtest feature can give you specific data about your potential audience, including hardware usage and regional player breakdown.|
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|[Data articles](https://steamcommunity.com/groups/steamworks)|Keep an eye on Valve's occasional articles; they provide useful data on things like controller usage trends, wishlisting trends, and findings from events like NextFest.|
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### Post-release metrics and analysis
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Once the game is out, here are the metrics you should track:
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|Metric|Description|
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|---|---|
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|Game sales data reports|Compare time periods, countries, and promotional events. _Use comparison tools to compare periods of time. Choose “preferences” and then choose time period._|
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|Game player numbers|Metrics like concurrent players and daily active users show traction. _What are the effects of shipping updates?_|
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|Median playtime|Track the average playtime to understand how long players are engaging with the game, and if there's a drop-off point you need to address.|
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|Remote play stats|Monitor how many people are playing your game on other devices or via the *remote play together* feature. _To access: Sales and activations reports > Select your game > Click Remote Play Stats on the right_|
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|Controller usage|Understand the input devices players are using, especially controllers. The Steam Input API can help ensure complete support for all devices.|
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|Game hardware survey|A monthly survey sampling from players gives you details on hardware specs (CPU, GPU, OS, Memory, etc.). This is useful to ensure the game is compatible with the most common hardware.|
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|Steam key activations|Shows where batches of keys are ending up and how many are being redeemed. _Note: once generated, you can't update tags on a batch. Break them down as much as you can._|
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|Refund data|See the reasons and notes left by customers during refund. Can be useful to identify blocking issues for players _To access: Select a package for your game > Click Refund Data on right hand menu|
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|User reviews|Not exactly a metric, but reviews offer a treasure trove of qualitative data about your game's performance and reception. Monitor and code them to identify trends and issues. There's an API call to get a full list if you wish to run your own analysis!|
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|Events & announcements|Each post comes with visibility, open info, and voting data.|
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|Promos and discounts|Analyze how players respond to different price points to optimize your discount strategy. Is there a sweet spot for discounting your game? Which events connect you best with players? Combine with reports previously mentioned to compare results. CSV includes base price and sale price so you can tell when it’s a discounted purchase. CSV exports available.|
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|Traffic and visibility|Understand where your game appears on Steam and how players find it. What paths are players taking to find your game? See how visibility reacts to spikes in player interest. CSV export available.|
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|Beta branch users|Track how many players opt into each branch of your game build. This can provide useful feedback on the stability of builds.|
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|In-game purchases|If you're selling in-game items that can be traded or gifted, *anticipate potential fraud*. The Steam API has functions like `GetUserInfo()` and `GetReport()` that can help monitor this. [See docs for microtransactions.](https://partner.steamgames.com/doc/features/microtransactions#3)|
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|Monthly revenue report|Provides a detailed breakdown of sales, refunds, taxes, and net payout. CSV exports.|
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### Multi-game release
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Once you have more than one game Alden pointed out that you can start comparing them to each other using the top menu of the sales portal, allowing you to see various reports and easily compare all your games in aggregate.
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Key areas to consider in multi-game release scenarios are:
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|Metric|Description|
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|---|---|
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|Bundles sales data|Compare the performance of your game in both standalone and bundled formats.|
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|Regional sales stats|By comparing how your games perform in different regions, you can identify key geographic areas for marketing and localization.|
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Alden recommended checking out the [Steam API documentation](https://partner.steamgames.com/doc/api) for a detailed understanding of the various features and how to use them.
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@ -1,107 +0,0 @@
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---
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title: Actionable Values
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description: ''
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category: studio-development
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tags: []
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accessLevel: public
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author: Weird Ghosts
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publishedAt: '2025-11-10T10:52:42.621Z'
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---
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# Actionable Values
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## Overview
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Interested in **developing collectivism within your studio?** You're in the right place!
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You know that the studio structures that dominate the industry, and the methods they use to maximize profits, lead to **toxic outcomes**. But we all need money to live. So how do we strive for alternatives?
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Of course, there is no single, perfect alternative. But we can support each other as we look for a better way, and challenge each other with the various types of alternatives we're building.
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In this article, we're going to take a deep dive into the heart of what makes a collective-minded studio thrive. We explore how foundational values are – not just stated, but actively integrated – in every facet of our operations. From understanding how our team members relate to our values to examining their practical application in decision-making and daily interactions, we'll discuss how they shape work cultures.
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## Common Studio Pain Points
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We've seen many common pain points in the Baby Ghosts program, including:
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- How do we make more money?
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- How do we prioritize?
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- How do we scope our game?
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- How do we reach our audience?
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Everyone needs the answers. But these pain points are a subset of bigger concerns – the things that studios often neglect to talk about. The real question is, *why do we work the way we do*? What experiences are informing us? Why are we making what we're making in terms of scope and design? These are studio-wide questions and are part of larger, less frequently addressed problems that stem from fundamental work practices and experiences – and our values.
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## Defining Actionable Values
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Here is how Gamma Space embodies these values in our processes to navigate various challenges.
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First, we see video games as **tools for change**—a concept and *practice* mirroring our values. We prioritize **collective care and well-being**, ranking it high among our top five principles. Emphasizing vertical engagement, we commit to **personal and group accountability**—there's no merit in values without real adherence and engagement. Finally, **empowering individuals** and supporting their personal growth and agency is crucial. We also strive to challenge entrenched industry norms, advocating for equity. While 'equity' is a concise term, it encompasses broader issues we can explore further. By aligning decisions with these values, we can address both immediate challenges and broader concerns, leading to more equitable and sustainable practices.
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Our values should inform our actions: the why, what, and how. At Gamma Space, we're driven by the belief that video games can instigate change. Our goal is to confront systemic biases. And we plan to achieve this through three main strategies: nurturing collective care, fostering accountability, and enhancing creative empowerment. This approach helps us scrutinize and refine our decisions, aligning them with our values. For example, when contemplating new projects or allocating funds, these values provide a lens through which we assess options. A solid, shared understanding of our values allows us to delve deeper into decision-making, applying concrete principles to a broader range of questions and challenges.
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Translating your values into goals is at the heart of [social impact](https://weirdghosts.ca/blog/a-brief-intro-to-making-your-indie-game-studio-impactful). A tool for translating your values into practical, measurable action is the [results flow](/articles/results-flow). This diagram shows how your day-to-day activities flow in the short-, medium- and long-term, up to your ultimate goal. Translating your values into actionable goals is _required_ if you're interested in seeking social impact funds, such as from Weird Ghosts, or one of the other social impact funds in Canada.
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## Conflict Between Goals and Values
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We are really digging deep into values *so that we can make collective decisions*.
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The way values are expressed historically in companies is often just lip service. Traditional companies are explicitly beholden to their capitalist framework: typically a top-down structure, infinite growth, infinite profit, and infinite shareholder value in some cases.
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And even if they say things like, well, we're a B Corp, and we're interested in the triple bottom line – it's still very difficult for these companies to do. "Good for employees," "good for the environment," and "good for shareholders" are all valued equally because they're still trying to grow as much as they can and be as successful as possible. And part of the problem is that it starts to erase the meaning of these ideals.
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## Integrating Values in Operations
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So how can values become core to your practice and how you engage with your work? One way is to integrate values into your everyday tools and processes to build **a common approach to introduce and practice ideas**. This is important because if not everybody is speaking the same language, this is very difficult. It means that you're not values-aligned, and everyone is interpreting the "right thing" differently. Expect this to happen – there will always be gradations of this. There's no perfect unity here. But there is an idea that you're working towards a shared understanding.
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A participant once called this a "codified" process, and that really hits the nail on the head. When you use tools, your values and impact can be quantified and measured over time. It means that if you start making changes and adjustments and course-correcting, this can be transparent to everyone. As opposed to a situation where the "boss" says "Oh, we had this meeting," or "We talked about this over lunch," or "We'll let this slide this time and do this." We can actually make these decisions transparent. And it's good information for when you re-examine your values – this is not a thing that just gets set in stone. Your values and processes might actually change and get more refined.
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An example of this for Gamma Space is that we recently updated our code of conduct. We did this because we felt the need to re-examine our anti-oppression framework and to think about how we apply anti-oppression to the space. This resulted in some very difficult conversations for some people. But everyone agreed about why we had to do it, so we collaboratively updated the policy.
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This example reinforces how we work together, and our concept of care for each other and challenging systemic norms. So this "work product" or process brought us together because even our internal processes and policies are as important as our external-facing work.
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## The Layers of Effect
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I want to introduce a tool that we use a lot. It's the [Layers of Effect](https://www.designethically.com/layers) (grab our [Miro template](https://miro.com/miroverse/layers-effect-template/)). It was developed by UX designer [Kat Zhou](https://www.katherinemzhou.com/). It can be adapted for use in large-scale and granular decisions. It helps you understand the impact of your choices before you get to work, and it allows you to thoughtfully project intentional and unintentional effects on your audience.
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The process starts with a template resembling a bullseye or concentric circles, where the center represents the primary audience or effect, followed by secondary and tertiary effects. The purpose is to assess the impact of initiatives and activities on the audience and affected people.
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Here is an example for an accelerator program for underrepresented game studio founders. This illustrates how initial ideas and potential negative outcomes are considered. One effect is that participants learn various skills, but concerns about reporting, privacy, and intellectual property are also acknowledged as secondary effects. The process involves weighing positive impacts, like community support and network connections, against potential negatives, such as privacy concerns or compromised feelings of independence.
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We also have a spot for the desired outcome.
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This is a real board we collaborated on about two years ago to start to develop the Baby Ghosts program. Of course, it's evolved a lot since then. This is a map of our good intentions. "Participants are introduced to value flow to help recognize internal efforts," – cool, they're going to learn different ways to value themselves! "Participants learn to present to publishers and other funders." That also sounds like a good thing. "Participants develop project scoping, budgeting and presentation skills," – another good thing. We couldn't think of any negative things as a primary effect. But if we take a step out to secondary effects, there might be some negative things.
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One example we have is that participants will be encouraged to memo about value flow in their reporting. But reporting and sharing may feel at odds with independence. It just doesn't feel right to some people. Of course, we believe there is more value than downside to openness, but in our experience, some people have a lot of trouble with it.
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Reporting may also feel at odds with privacy and intellectual property. Some studios might feel, "Oh, I can't share this because it's our trade secret." Or, "We can't share this in the community, I don't trust what's happening here." That might make people feel less inclined to participate. But there's some positive things here: "Participants feel supported by community," "Participants connect with a bigger network." We can start to balance these out and try to evaluate these things after we put these sticky notes in. We have conversations about them through the lens of our values, to say, why might these things be true? And how can we mitigate them? What is our actual way of dealing with these things that will make this a better experience?
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Then we zoom out as far as we can to the tertiary. One is "Participants may be overwhelmed by the scope of the process." And this is a thing that happens!
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Once you start getting into it, you might realize, "Oh, we've never had these conversations together as a team to this level! Every time we get a little bit deeper, it becomes a bit more overwhelming.So how do we deal with that? And how can we provide tools for our participants to help them with that? Can we provide opportunities for them to break out, take a breather, talk to us, and have studio workshops between these larger cohort sessions?
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And this one's a real one: "Participants may feel this process distracts them from creating their game." We hear you, we want you to make your game too! But we also want you to survive and thrive along the way, and be able to enjoy and celebrate the success of the game afterwards and not just immediately flame out. We want you to continue to be a game studio *after launch*!
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We've seen dozens of games built and launched through Gamma Space. And they've all been amazing. But sometimes we talk to creators and they say, "I don't know how to talk about my game," and *also*, "I don't want to share anything about my game until I have a publisher and have money." So many things stand in the way of their success because they are trapped in old ways of thinking.
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But other things come at the tertiary level: Co-op behaviour models, valuable methods, and the extension of the reach beyond the program for individuals to other aspects of their lives. And that is what we think is a positive possible outcome from this.
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## Conclusion
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**Embedding actionable values within studio development is not just about stating ideals but about putting them into play in every aspect of our operations.** From the way we interact with each other to the decisions we make and the projects we undertake, our values guide the way.
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By committing to these principles, we don't just create a workplace – we foster a _collective_ that thrives on mutual respect, inclusivity, and growth.
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## Q&A
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**Question:** I'm struggling to separate secondary versus tertiary content. How do you decide the levels?
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**Answer:** The tertiary levels are *effects* of the secondary level effects – so effects of effects! You have to discuss and collectively decide where these effects lie as a studio. What is the full impact? When you take a step back (and perhaps get some feedback), you might learn that your tertiary effects are actually secondary effects or even primary effects.
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The important thing is to imagine the outcomes of each activity and then each effect as you work through the circles.
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[Miro template: Layers of Effect](https://miro.com/miroverse/layers-effect-template/)
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_This content was developed by [Gamma Space](https://gammaspace.ca) for a 2023 Baby Ghosts cohort presentation. We have summarized and adapted it here._
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---
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title: Business Planning
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description: A business plan is a critical document for impact-oriented studios.
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category: strategy
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tags: []
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accessLevel: public
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author: Baby Ghosts
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publishedAt: '2025-11-10T10:42:09.221Z'
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---
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# Business planning for impact
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Business planning is often neglected by indie video game studios, who are more focused on getting _this_ game out the door than making plans for the next. On top of that, most game studios are not explicitly oriented around social outcomes, so they may be less rigorous in analyzing their long-term goals. A business plan is a critical document for impact-oriented studios because you've set some concrete goals (and if you haven't, start [here](/articles/results-flow)), and need a realistic way to go after them.
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With a business plan in hand, the information you share with potential clients, partners, investors, and the public is backed up by values, goals, and social and financial diligence.
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We will provide a starting point if you have never created a business plan or have already written one and need to reframe it for your intended social impact.
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::alert{type="info"}
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**This article assumes your goal is a sustainable, profitable, impact-oriented video game studio.** If that doesn't apply to you, you might not need a business plan right now. Carry on!
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::
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So let's break down the what, the why, and the how!
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## What's a business plan?
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In traditional corporations, a business plan is a guide that lays out how the company **intends to make money**. It's both a map for the company's strategy and a way to get investors hyped.
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A business plan does something a little different for a social purpose organization (SPO), whether for– or non-profit, co-op or hybrid. It's a road map that shows how the organization wants to make a positive change over the next few years. It describes the nuts and bolts of how you will achieve your ultimate outcome – and produce social returns on investment ([SROI](https://www.sopact.com/social-return-on-investments-sroi)) – in a financially sustainable way.
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Your plan should be a **true expression** of what you intend to do. Yes, you may need it for investor pitches and bank meetings, but its real value is as an **internal** tool. And authenticity is key to it being actually useful to you as you work towards your short-, medium-, and long-term goals.
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## Why plan?
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So why do you need a plan? With it, you can create the tools and reports you need to seek financing and report to your community. As an impact-oriented studio, these are crucial outputs.
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Let's recall the foundational elements that will form the basis of your plan. Make sure you're comfortable with the core tools in your social impact kit, including **financial tools**, **[results flow](/articles/results-flow)**, and your **[impact measurement framework](/articles/impact-measurement)**.
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These social impact tools feed into your business plan, which you can then draw on for:
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::list
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- Crafting **pitch/capabilities decks** for investors and partners
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- Designing **one-pagers** for media, partners, and clients
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- Preparing **funding applications**, including arts/industry grants
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- Submitting **loan, debt, and credit applications** to banks
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- **Reporting** to boards, members, and stakeholders
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::
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|
||||||
Building on your results flow to develop your business plan will allow you to show the detailed logic behind how you intend to achieve your target outcomes. This, in turn, aids in decision-making, from daily operations to long-term strategies.
|
|
||||||
|
|
||||||
The business plan is a crucial tool for fundraising (targeting impact investors, foundations, government, sponsors, and donors) and may be required by accelerator or incubator programs. And because it summarizes your impact measurement framework (IMF), it's the go-to document for stakeholders looking to gauge your performance.
|
|
||||||
|
|
||||||
In addition, your business plan helps you:
|
|
||||||
|
|
||||||
- **Evaluate the viability of your ideas.** A well-considered business plan allows you to test and validate your concepts against reality. Is your game resonating with your target audience? Are you able to hire and train developers from a specific community reliably? If your outcomes veer from your planned course, you know you need to change your strategy – and how.
|
|
||||||
- **Highlight your team's strengths.** Your plan showcases your team members' collective expertise, values, and skills. It shows how each person's strengths align with and drive your studio's mission forward.
|
|
||||||
- **Outline your strategies for both business and social impact.** You can hope you have a hit on your hands, or assume you'll have impact if you're a creator from a marginalized background making a game that represents your experiences. But a plan lays out, step-by-step, exactly how you will _ensure_ your studio is sustainable and impactful.
|
|
||||||
- **Keep your work aligned with your goals.** With a clear plan in place, you can check in on your progress against your goals. In tandem with your IMF, reviewing and updating your plan means that every decision and action aligns with your studio's ultimate outcome.
|
|
||||||
|
|
||||||
## The how
|
|
||||||
|
|
||||||
### Planning to plan
|
|
||||||
|
|
||||||
We'll repeat it: Before you get to keyboard clacking, complete your [results flow](/articles/results-flow) and [impact measurement framework](/articles/impact-measurement). They are essential resources for your plan. And having them will make certain sections a snap to write!
|
|
||||||
|
|
||||||
Another consideration is who should be included in the drafting, editing, and finalization processes.
|
|
||||||
|
|
||||||
If you're a small team with little hierarchy (maybe a co-op?), everyone should be included at some point. Do a draft, then pass it to the team for their edits and feedback. Consensus is a must.
|
|
||||||
|
|
||||||
The CEO or founder(s) may write the first draft in a larger studio. Engaging the development team, marketing and community managers, board members, legal and compliance folks, financial specialists, or business analysts is still crucial. If you have the budget, it's worth considering hiring external advisors such as impact consultants, diversity and inclusion specialists, or industry experts.
|
|
||||||
|
|
||||||
Feeling daunted? We've created a template with section checklists you can use to get started. No one likes staring at a blank page. [Check it out here.](https://docs.google.com/document/d/1AGXb1Z3GrA2dIsYUEsJs-JhCsP2zsQApedZ3p3b31es/edit?usp=sharing)
|
|
||||||
|
|
||||||
## The Core Elements
|
|
||||||
|
|
||||||
There's no shortage of business plan how-to articles that prescribe more sections or more detail than what we recommend here. Consider this a minimal starting point that covers all you _definitely_ need when approaching social finance investors. At the end, we'll suggest some additional sections you may want to include based on the audience for your plan.
|
|
||||||
|
|
||||||
The elements we'll cover here are your mission, team, operations, SWOT, market, money, and measurement.
|
|
||||||
|
|
||||||
### Mission
|
|
||||||
|
|
||||||
Your mission can be written as a summary of the branches of your results flow, positioned as _what you do_, followed by a restatement of your ultimate outcome (a description of the changed state of the world should you be successful).
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** Does your mission clearly articulate each of your core activities and how they connect to your ultimate outcome?
|
|
||||||
::
|
|
||||||
|
|
||||||
**Example:**
|
|
||||||
> At Quixelate, we champion LGBTQIA+ narratives through our games, ensuring players not only enjoy diverse characters but also develop empathy and become advocates for inclusion. Beyond the screen, we're cultivating an inclusive community where every member feels seen, heard, and valued. Through our educational initiatives, we aim to share LGBTQIA+ experiences with the wider public, turning passive participants into active allies. Our mission is a world where LGBTQIA+ identities are understood and accepted in games, mirroring a society that celebrates diversity and inclusion.
|
|
||||||
|
|
||||||
### Team
|
|
||||||
|
|
||||||
**Who do you have on board?**
|
|
||||||
Describe the experience and skills of each member. Keep the bios short – just a sentence or two – with a straightforward accounting of their unique capabilities that connect directly to your needs.
|
|
||||||
|
|
||||||
**Who (what expertise) is missing?**
|
|
||||||
Identify any gaps in personnel and how you intend to fill them – and whether they are contractors, employees, members (in the case of a co-op), or consultants.
|
|
||||||
|
|
||||||
**Describe your collective capabilities.**
|
|
||||||
Describe your established partnerships, any key technologies or intellectual property (IP) you've developed, and access to special resources such as relationships with platform holders, distributors, and publishers.
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** How does our team's composition reflect our commitment to diversity and inclusion?
|
|
||||||
::
|
|
||||||
|
|
||||||
|
|
||||||
### Operations
|
|
||||||
|
|
||||||
**How will you deliver your games?**
|
|
||||||
Your business model is your plan for generating revenue. Will you sell games directly to players, rely on in-app purchases, or try a subscription model? Consider post-launch support, updates, and community engagement events that can add longevity to your games and encourage player loyalty.
|
|
||||||
|
|
||||||
**Describe how you will fund your projects, team, and mission.**
|
|
||||||
For an impact-oriented studio, there's a delicate balance to strike between social outcomes and financial objectives. Without financial sustainability, you'll be hard-pressed to achieve your ultimate outcome.
|
|
||||||
|
|
||||||
**How does your structure support your model?**
|
|
||||||
Your studio's legal and organizational structure plays a huge role in how you operate and pursue your social goals. Are you a sole proprietorship, partnership, traditional share corporation, co-op, or non-profit? Learn more in our article [Business Structures for Impact](/articles/structures-for-impact).
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** How have we integrated our social impact goals into our operational strategy? Does our organizational structure support our social impact objectives?
|
|
||||||
::
|
|
||||||
|
|
||||||
### SWOT
|
|
||||||
|
|
||||||
A SWOT analysis identifies the **strengths**, **weaknesses**, **opportunities**, and **threats** that apply to your studio.
|
|
||||||
|
|
||||||
| **Category** | **Description** | **Examples** |
|
|
||||||
|----------------|-----------------------------------------------------------------------------------------------------|--------------------------------------------------------------------------------------------------|
|
|
||||||
| **Strengths** | Internal positive attributes of your studio that give you an advantage over others. | Strong brand identity, unique art style, financial security. |
|
|
||||||
| **Weaknesses** | Internal challenges or shortcomings that may hinder your success. | Tight budget, platform dependency, skill gaps. |
|
|
||||||
| **Opportunities** | External factors you can capitalize on. | Growing market in a specific region, collaborations, community engagement. |
|
|
||||||
| **Threats** | External challenges that could negatively impact your studio. | Oversaturated market, economic downturn, changing player tastes. |
|
|
||||||
|
|
||||||
**Identify and SWOT comparable studios.**
|
|
||||||
Select two or three studios whose structure, games, or success reflect your aspirations, and conduct a _light_ SWOT analysis on each of them. Look at Steam pages, web sites, social media, and industry tools like [VG Insights](https://vginsights.com). No need to write paragraphs – a succinct point for each category is enough.
|
|
||||||
|
|
||||||
**SWOT yourself.**
|
|
||||||
Conduct an analysis on your own studio. Identify two or three key points for each category.
|
|
||||||
|
|
||||||
**Summarize your position amongst your peers.**
|
|
||||||
What gaps did you identify, and how will you fill them? How do your strengths stack up against your dream studios'? This assessment will provide a clear understanding of your competitive landscape.
|
|
||||||
|
|
||||||
### Market
|
|
||||||
|
|
||||||
This section, unlike the rest, focuses on your game(s) in-development rather than your studio overall. No matter how important your mission is, it can't overcome a lack of market knowledge and real demand for what you're creating.
|
|
||||||
|
|
||||||
**Who will buy your games?**
|
|
||||||
Get to know your target audience. What are their preferences, needs, and desires?
|
|
||||||
|
|
||||||
**What external validation drives your decisions?**
|
|
||||||
Before launching, test your concept – even on a small scale. Conduct beta tests, gather feedback via surveys and interviews, and adjust accordingly. Describe your testing strategy here.
|
|
||||||
|
|
||||||
**Include indicators that show demand.**
|
|
||||||
A thorough market analysis of your currently in-development game will provide insights into the demand for your style, genre, and price point. Look for trends, surveys, or studies that indicate a gap in the market that your studio can fill. (If you're a Weird Ghosts investee, we have an article and template for market analysis on our [Vault site](https://vault.weirdghosts.ca/insights/basic-market-analysis).)
|
|
||||||
|
|
||||||
**Articulate what sets your studio apart**.
|
|
||||||
In 2022, over 12,000 games were released on Steam[^1]. Why should players choose your games? What experiences or narratives do you offer? How do you engage with your community, and why should players return to your games? What is special about your studio?
|
|
||||||
|
|
||||||
**Include rationale for your pricing strategy.**
|
|
||||||
Lastly, your pricing strategy should reflect the value you offer and be sustainable for your studio. It's essential to balance accessibility to your audience and ensuring you're making enough so that you can continue to deliver impact.
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** Does our market analysis consider audiences or segments that align with our social goals? How does our business plan address these segments' unique needs or preferences?
|
|
||||||
::
|
|
||||||
|
|
||||||
> **Example Market Analysis Summary:**<br/>
|
|
||||||
Quixelate's primary audience consists of players who appreciate narrative-driven experiences with a focus on diversity and inclusion. Our market research indicates a strong demand for such games, with an average sales estimate of approximately 124,751 units per title on Steam alone. The average net revenue from Steam sales for games in our genre and style stands at a promising $1,447,906. This is further validated by the success of titles like "My Time at Portia," which has over 29,000 reviews and an estimated 1 million sales, translating to a net revenue of over $15 million on Steam.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
[^1]: [Steam Market Data 2022](https://vginsights.com/steam-market-data)
|
|
||||||
|
|
||||||
### Money
|
|
||||||
|
|
||||||
**What do you need to start up?**
|
|
||||||
Every studio needs some capital to kickstart operations and scale. You might be bootstrapping, or benefiting from generous friends and family. Outline what you have, what you need, how you'll allocate the funds, and your repayment strategy.
|
|
||||||
|
|
||||||
**Make realistic revenue projections.**
|
|
||||||
Look to your market analysis to forecast your game's financial performance, and factor in other revenue streams and future games.
|
|
||||||
|
|
||||||
**Provide an overview of your expenses/costs.**
|
|
||||||
This includes production costs, marketing expenses, overhead, and other costs contributing to revenue generation. These apply to your studio as a whole – not just your currently in-development game.
|
|
||||||
|
|
||||||
**How will you become financially sustainable?**
|
|
||||||
You do not need to show massive growth – if your goal is simply to pay yourself and your collaborators a living wage, that's fine! Outline how you plan to achieve sustainability, ensuring the business remains operational and true to its mission.
|
|
||||||
|
|
||||||
**How will your performance be measured?**
|
|
||||||
Social investors typically want a blend of financial and social returns. Your plan must describe the potential social return on investment and a framework for assessing social performance (detailed in your IMF).
|
|
||||||
|
|
||||||
**Attach financial statements.**
|
|
||||||
If you have already started up, note here that additional financial information is available in the appendix. You may want to include your one-year cash flow, profit and loss, and balance sheet.
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** How are we allocating resources to achieve both financial sustainability and social impact? Does our financial strategy consider potential partnerships or funding sources that align with our social mission?
|
|
||||||
::
|
|
||||||
|
|
||||||
### Measurement
|
|
||||||
|
|
||||||
**Provide an overview of social outcomes.**
|
|
||||||
You have defined your desired outcomes in your results flow, and detailed the indicators you'll use to track progress towards them in your IMF. Provide a succinct overview of them here.
|
|
||||||
|
|
||||||
**Describe the role of indicators in tracking progress.**
|
|
||||||
Your indicators provide tangible data points that can be measured and analyzed over time. Describe the key indicators you've chosen and why they're relevant to your mission and studio business.
|
|
||||||
|
|
||||||
**What tools and techniques will you use to gather data?**
|
|
||||||
This could involve surveys, feedback forms, analytics tools, or even in-game metrics. Also, provide an overview of how often you'll analyze this data, whether monthly, quarterly, or annually.
|
|
||||||
|
|
||||||
For a deeper dive into the intricacies of the impact measurement framework and how to effectively implement it in your studio, refer to the [IMF article](/articles/impact-measurement).
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Reflect:** How does our business plan detail the metrics and methods for measuring social impact? Are there clear milestones and timelines for assessing our social impact progress?
|
|
||||||
::
|
|
||||||
|
|
||||||
### Executive summary
|
|
||||||
|
|
||||||
This should be the last thing you write, but the first page of your document. It's a rich, compelling summary of your whole plan. You want to draw the reader in so they want to read the rest of the document. Make sure each section of the plan is succinctly summarized.
|
|
||||||
|
|
||||||
### Appendix
|
|
||||||
|
|
||||||
Label and attach additional documents, such as financial projections, pitch deck, or other evidence for any of the elements of your plan. Be sure to include a page or section number where any document is referenced in the body of your plan.
|
|
||||||
|
|
||||||
### Additional sections
|
|
||||||
|
|
||||||
You may consider fleshing out your plan with some of the following sections, depending on your audience:
|
|
||||||
|
|
||||||
- Technology and tools used in game development.
|
|
||||||
- Intellectual property protection.
|
|
||||||
- Marketing and community engagement strategies.
|
|
||||||
- Diversity and inclusion initiatives.
|
|
||||||
- Sustainability efforts.
|
|
||||||
- Risk mitigation strategies.
|
|
||||||
- Exit strategies.
|
|
||||||
|
|
||||||
## Service-based business
|
|
||||||
|
|
||||||
Tweak your lens if you're a studio focused on service work or clients. Anchor around a key technology or approach, seek clients who can access social finance, or partner directly with an investor and operate as an agency that supports social-purpose organizations. Treat yourself as a client and prove your model with a prototype to generate evidence for your IMF.
|
|
||||||
|
|
||||||
## A cooperative approach
|
|
||||||
|
|
||||||
**Experiment with the format.**
|
|
||||||
|
|
||||||
It doesn't have to be a dry Google doc! We know some folks love Notion, and other tools like Canva and Miro can help you visually lay out your plan. Keep in mind who you aim to share it with and make sure the format is accessible and readable for them.
|
|
||||||
|
|
||||||
## Reward and make collaboration frictionless
|
|
||||||
|
|
||||||
It's not just for the bosses. Consider how easy it is for your team to access and make changes to it. Invite regular feedback and updates and make it a pleasant experience. We use shared a shared vault in Obsidian, and track Markdown files through Git.
|
|
||||||
|
|
||||||
**Build review cycles into your internal schedule and processes.**
|
|
||||||
|
|
||||||
It's only useful if you use it, and that means updating, changing, and adding as you learn what is working and not with your studio. We recommend reviewing your plan every three months, and updating your Measure section with data from your IMF.
|
|
||||||
|
|
||||||
**Consider radical transparency.**
|
|
||||||
|
|
||||||
Make it public. Publish it and show how it has changed over time. Allow others to clone or fork it on Github!
|
|
||||||
|
|
||||||
## Finally…
|
|
||||||
|
|
||||||
The most important question we'll leave you with is: **What do you hope to get from your business plan?** Your answer will lead the way if (when!) you get lost in the details. This process is, first and foremost, for *you* and the impactful studio you are building. We'd love to see your plan! If you want to share it with us, email us at [hello@weirdghosts.ca](mailto:hello@weirdghosts.ca).
|
|
||||||
|
|
@ -1,77 +0,0 @@
|
||||||
---
|
|
||||||
title: Canada Council Funding
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.229Z'
|
|
||||||
---
|
|
||||||
# Fund your game with Canada Council
|
|
||||||
|
|
||||||
Notes based on 2022 webinar with program officer Megan Leduc, who has been working with Canada Council 10 years with Explore and Create team.
|
|
||||||
|
|
||||||
- CC gets back to people with questions within 3 days.
|
|
||||||
- Must create an account in the portal first.
|
|
||||||
- Log in or check eligibility.
|
|
||||||
- Pick the type of artist you are - Individual or Group/Organization.
|
|
||||||
- Pick artistic practice - Digital Arts or Media Arts (can select both).
|
|
||||||
- New and Early Career profile also available.
|
|
||||||
- Self-identify: Priority groups.
|
|
||||||
- Indigenous (also Creating Knowing and Sharing program).
|
|
||||||
- BIPOC.
|
|
||||||
- Language minority.
|
|
||||||
- Deaf/disabled.
|
|
||||||
- Submit CV to verify experience.
|
|
||||||
- Once approved, all grants you’re eligible for appear in the portal.
|
|
||||||
- Games are art, according to Canada Council.
|
|
||||||
- Tech-based art has been funded for 40 years.
|
|
||||||
- Upcoming cutoff date - October 5, results end of February.
|
|
||||||
- Can apply after but results will be later.
|
|
||||||
|
|
||||||
## Research and Creation
|
|
||||||
|
|
||||||
- Early phases of your project - everything up to prototyping.
|
|
||||||
- Test out new tech, tinker, research.
|
|
||||||
- Up to $25,000 per year, up to 2 years.
|
|
||||||
|
|
||||||
## Concept to Realization
|
|
||||||
|
|
||||||
- Usually up to $60,000 (exceptional projects go to $100,000).
|
|
||||||
- Peer assessors are artists across disciplines from across the country.
|
|
||||||
- High level tech needs contextualization as assessors are probably unfamiliar with games.
|
|
||||||
|
|
||||||
What they support:
|
|
||||||
|
|
||||||
- Looking for independent artist-driven projects - you are the lead and own the rights.
|
|
||||||
- Artistic projects with an artistic vision.
|
|
||||||
- Creators, directors but not production companies.
|
|
||||||
- Do not support commercial projects.
|
|
||||||
- Check with Council before submitting to clarify eligibility.
|
|
||||||
|
|
||||||
## Top Tips
|
|
||||||
|
|
||||||
1. Read the entire application ahead of time. Don’t be repetitive and include everything in your first question.
|
|
||||||
2. Read the assessment/scoring criteria ahead of time (on each program page) and focus on:
|
|
||||||
1. Impact (contribute to artistic development, advance artistic practice, knowledge of practice - different for different programs).
|
|
||||||
2. Artistic merit (samples, rationale, outcomes).
|
|
||||||
3. Feasibility (capacity and experience to undertake project - history of previous work, samples, reasonable budget, including other revenue and ability to provide reasonable working conditions).
|
|
||||||
3. Be authentic, ensure you have a hook.
|
|
||||||
4. Be clear and concise - don’t be too in your head. Get another person to look at your application.
|
|
||||||
5. Be consistent throughout your application.
|
|
||||||
6. Support materials:
|
|
||||||
1. Show your experience and ability to carry out your project.
|
|
||||||
2. Assessors will only spend 10 minutes with this. Put important stuff at the top.
|
|
||||||
3. Include samples, drafts, storyboards for the project.
|
|
||||||
|
|
||||||
- Criteria is used to rank all applications and as many projects are funded as there is budget.
|
|
||||||
- Recommended projects sometimes get redistributed funds throughout the year.
|
|
||||||
- Priority groups are sometimes pulled from below the success criteria line to be funded.
|
|
||||||
- Disability - honour system, self-identified.
|
|
||||||
- Barriers - contact them 2-3 weeks before deadline for assistance.
|
|
||||||
- Access support - grant that covers costs incurred while applying (can be applied for after the fact).
|
|
||||||
|
|
||||||
Eligibility: It all comes down to artistic project (fundable) vs. commercial product (not fundable).
|
|
||||||
|
|
||||||
- A T4A slip is issued at the end of the year. It is not a gift but taxable income.
|
|
||||||
- Council is not a producer and takes no rights to your project.
|
|
||||||
|
|
@ -1,91 +0,0 @@
|
||||||
---
|
|
||||||
title: CMF Quick Tips
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.229Z'
|
|
||||||
---
|
|
||||||
# CMF Application Tips & Info
|
|
||||||
|
|
||||||
_With help from [Astrid Rosemarin](https://twitter.com/astridrosemarin) and Tamara Dawit!_
|
|
||||||
|
|
||||||
## Background
|
|
||||||
- The Canada Media Fund (CMF) has its roots in Telefilm, which was established in the 1960s. Over the years, it has evolved to support a broader range of media.
|
|
||||||
- CMF is run and administered by Telefilm, which means it operates within the framework and guidelines set by Telefilm.
|
|
||||||
- The language used in film production is different from game development. E.g., in the film industry, "production fund" refers to the active creation of the project, while "development" refers to pre-production activities.
|
|
||||||
- Banks are typically reluctant to provide bridge financing for games. This type of financing is used to cover expenses before the release of the game, which can be risky for banks.
|
|
||||||
- The definition of "done" varies between film/TV and games. This can lead to confusion and miscommunication when dealing with funding and project completion.
|
|
||||||
- The CMF is aware of these issues and is actively working to improve its processes and guidelines.
|
|
||||||
|
|
||||||
## Experimental programs
|
|
||||||
- Convergent programs are designed for broadcast TV.
|
|
||||||
- Experimental programs cater to Interactive Digital Media (IDM) and software projects.
|
|
||||||
|
|
||||||
## Budget cap
|
|
||||||
- CMF can fund up to 75% of a project's budget.
|
|
||||||
- The maximum funding amount is $1.5 million across all programs.
|
|
||||||
|
|
||||||
## Fiscal Year
|
|
||||||
- The fiscal year starts on April 1 and ends on March 31. This is when new budgets, deadlines, and guidelines are refreshed.
|
|
||||||
|
|
||||||
## Programs
|
|
||||||
1. Accelerator partnership: A program designed to foster partnerships and collaborations.
|
|
||||||
2. Commercial projects program: This program focuses on projects with strong commercial potential.
|
|
||||||
3. Conceptualization: This is a first-come, first-served program that provides up to $15k for testing a proof of concept.
|
|
||||||
4. Prototyping: A selective program aimed at building a functional prototype for testing and validating concepts.
|
|
||||||
5. Innovation and Experimentation: A highly competitive program with a long lead time, aimed at funding IDM projects that push the boundaries of innovation.
|
|
||||||
|
|
||||||
### Conceptualization
|
|
||||||
- This program is first-come, first-served and provides up to $15k for testing a proof of concept.
|
|
||||||
- It serves as an entry point for future rounds of funding.
|
|
||||||
|
|
||||||
### Prototyping
|
|
||||||
- This program is selective and not first-come, first-served.
|
|
||||||
- It's designed to help build a functional prototype for testing and validating concepts.
|
|
||||||
- There are spring and fall deadlines, and the budget is split between these two periods.
|
|
||||||
|
|
||||||
### Innovation and Experimentation
|
|
||||||
- This program is very competitive and requires a long lead time.
|
|
||||||
- It's designed to fund IDM projects that are innovative and push the boundaries of what's possible in the field.
|
|
||||||
|
|
||||||
### Commercial Projects Program
|
|
||||||
- This program is similar to the Innovation program but has a stronger focus on commercial viability.
|
|
||||||
|
|
||||||
## Tips
|
|
||||||
1. Read the guidelines carefully and repeatedly, especially for selective/scoring matrix programs.
|
|
||||||
2. Weight your application according to the scoring grid, spending the most time and effort on highly scored sections.
|
|
||||||
3. Set up your online account well in advance.
|
|
||||||
4. Understand the importance of diversity and gender considerations in your application.
|
|
||||||
5. Work systematically against the list of required documents.
|
|
||||||
6. Talk to other developers who have successfully navigated the process before.
|
|
||||||
7. Allow plenty of buffer time to compile the necessary documentation.
|
|
||||||
8. Ensure your budget aligns with the CMF framework.
|
|
||||||
9. The core of your application should be your innovation.
|
|
||||||
|
|
||||||
::alert{type="success"}
|
|
||||||
Remember, the CMF does not cover 100% of the budget - it's intended to provide support, not full funding.
|
|
||||||
::
|
|
||||||
|
|
||||||
## Changes to guidelines (2022)
|
|
||||||
|
|
||||||
The overall budget for the Canada Media Fund (CMF) remains the same as in previous years, and the flexibility measures introduced in response to the pandemic will continue.
|
|
||||||
|
|
||||||
### Equity, Diversity, and Inclusion (EDI) Programs
|
|
||||||
- EDI programs, which were launched in 2021, will be expanded this year.
|
|
||||||
- The definition of diverse communities now includes 2SLGBTQIA+ individuals and persons with disabilities, in addition to Indigenous and racialized communities. The definition can be found in section 2.1.1 of the program guidelines and in appendix A.
|
|
||||||
- The term "gender balance" now includes "individuals that identify as women".
|
|
||||||
- Only paid positions are considered when assessing diversity and inclusion.
|
|
||||||
- The CMF is introducing a new Accessibility Support initiative to assist individuals who face barriers to completing the CMF application process.
|
|
||||||
- The CMF is formally launching PERSONA-ID, a new self-identification system designed to measure and monitor the demographic representation and participation of all individuals with ownership and control on projects seeking CMF funding. This system is required to earn points for EDI, but is otherwise voluntary.
|
|
||||||
|
|
||||||
### Experimental Stream
|
|
||||||
- The CMF is encouraging applicants to implement more environmentally sustainable practices. This may become a requirement in the future.
|
|
||||||
- Previously, applicants who had received any funding from an interactive Experimental Stream Program were excluded from applying to the Program. Now, the exclusion only applies to applicants who have received previous production funding from an interactive Experimental Stream Program. Applicants who have previously received funding from the Conceptualization and/or Prototyping Programs are now eligible to apply.
|
|
||||||
- At least 25% of the Conceptualization Program's budget will be exclusively reserved for projects where at least 40% of the enumerated eligible positions are held by members of diverse communities.
|
|
||||||
- The insurance requirements have been updated.
|
|
||||||
- There have been changes in the reporting requirements for digital media.
|
|
||||||
|
|
||||||
### Convergent Stream
|
|
||||||
- Nothing relevant.
|
|
||||||
|
|
@ -1,136 +0,0 @@
|
||||||
---
|
|
||||||
title: Co-op Structure
|
|
||||||
description: ''
|
|
||||||
category: studio-development
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.623Z'
|
|
||||||
---
|
|
||||||
# Co-op Structure and Value Flow
|
|
||||||
|
|
||||||
Welcome to an exploration of the cooperative structure in game studio development, a model that redefines the traditional workspace by prioritizing _collective ownership_ and _shared decision-making_.
|
|
||||||
|
|
||||||
In this article, we will look at the unique facets of a co-op setup, examining its foundational principles, operational dynamics, and its inherent benefits and challenges. We'll also discuss how this structure aligns with values like inclusivity, democracy, and sustainability and explore practical aspects such as legal frameworks and governance models.
|
|
||||||
|
|
||||||
## Co-op Basics
|
|
||||||
|
|
||||||
Let's start by talking about co-op basics. Co-ops are a unique business model distinct from other business corporations. They can produce products or offer services that can be for-profit or not-for-profit. They're not attractive for investment by default but _can_ be structured for preferred shares in for-profit co-ops. This is a lesser-known setup that we'll get into later.
|
|
||||||
|
|
||||||
Let's look at four ways co-ops differ from corporations.
|
|
||||||
|
|
||||||
### Ownership and Voting
|
|
||||||
|
|
||||||
One is ownership. Shares that are issued to owners don't change in value and can't be transferred. They're independent of value, regardless of what happens to the co-op. However, members can exit and sell their shares back to the co-op. This varies from province to province a little bit, but generally, there is a minimum of three directors required legally by the CRA (or Revenu Québec).
|
|
||||||
|
|
||||||
Voting: one member, one vote regardless of shares. This is important and a huge difference from typical corporations. Some of you may have indulged in *Succession* over the years and know shareholders have a lot of power based on how many shares they have. But in a co-op, one member gets one vote regardless of the number of shares they hold. Profit is distributed to members based on shares after expenses, reserve funds and other goals that can be set by the co-op.
|
|
||||||
|
|
||||||
### Structural Overview of Co-ops
|
|
||||||
|
|
||||||
A typical structure for a co-op has members at the top. The members elect *directors*, and the directors hire *management*. Management generally hires or pays workers who are members (or they could be contractors). When the workers are the members, that is a worker co-op. That is how worker co-ops work from a purely legal perspective.
|
|
||||||
|
|
||||||
If you're a consumer or producer co-op, your members make a product or provide a service. You've probably seen grocery co-ops or farm co-ops. In Alberta, you might be familiar with farm equipment co-ops as well. In any case, ultimately, the members benefit.
|
|
||||||
|
|
||||||
### Collective Mindset
|
|
||||||
|
|
||||||
It's important to remember that *collectivism* is at the heart of what we've been talking about so far. Co-ops support collectivism in a unique way, where every member is entitled to one vote regardless of their shares. Legally required governance enforces the development of shared values, as we have discussed previously. Shared values, in turn, encourage consensus-based goal setting, which cultivates a collective mindset. Collective goals lead to *resource sharing*, creating a cycle of mutual support. This interdependence is precisely why co-ops are ideal for collective thinking and developing collaborative processes.
|
|
||||||
|
|
||||||
## Co-op Legal Structure and Registration
|
|
||||||
|
|
||||||
If you haven't registered your co-op yet, here are some things you want to know. There are boilerplate bylaws available, but they don't say much about what members get or the expectations of shares or value. You have to go beyond that. If you go to a legal service or a lawyer to register your co-op, they will probably give you these boilerplate bylaws. Even if you go through a paid program, like Ownr, you might not get information on how to read them. There are differences between federal and provincial registration, affecting how you do business and the services you offer.
|
|
||||||
|
|
||||||
## Gamma Space's Node-Based Model
|
|
||||||
|
|
||||||
So, let's talk about how Gamma Space fits into something like this because it's a subject we can talk about. We're in it, we're operating it. Gamma Space is a node-based not-for-profit. It is driven by our values framework. Members develop studio relationships with each other, and we ensure value flows to everyone participating. And we're working towards a regenerative ecosystem of those flows.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
We are different from other studios because we have been involved with both members and non-members for over 10 years. Non-members are not part of our cooperative but are actively involved with us through Slack and other ways. We have not cut them off, and although they do not receive the same benefits as members, they still contribute to the community. Some non-members have even ended up working with members or collaborating with us.
|
|
||||||
|
|
||||||
## Value
|
|
||||||
|
|
||||||
Let's talk about value. People often bring up practical considerations like not working for free and not asking others to work for free. These ideas are well understood, and we fully support them. It would be unethical and antithetical to our mission to do otherwise. We need to be transparent about what we're building at all times.
|
|
||||||
|
|
||||||
For some co-operatives, members need to make a buy-in, which can be financial or some other agreed-upon commitment. For example, at one point, Mountain Equipment Co-Op required members to pay a yearly fee, which helped them build up the capital to fund their operations. There are also grocery and farming co-operatives that require a buy-in.
|
|
||||||
|
|
||||||
In a worker co-operative, members may need to contribute a certain amount of money or time to earn ownership shares. Credit unions are an excellent example of this. The important thing is that everyone understands what their ownership entails, whether it's through a financial investment or sweat equity.
|
|
||||||
|
|
||||||
Shares in a co-operative don't increase voting power, but they can be traded or valued in some way to honour an agreement. For-profit co-operatives can also bring in non-voting investors who get preferred rights to extract value from the co-operative. These investors don't have any say in how the co-operative is run, but they get the first cut of profits.
|
|
||||||
|
|
||||||
It's up to the co-operative to decide the value of these shares and how important it is to have operating money on hand. If a member leaves and wants to cash out their shares, the value must be filtered through the investors first. Ultimately, the co-operative values and priorities should guide all decisions.
|
|
||||||
|
|
||||||
When a member decides to leave, they can withdraw the value they have put in, which is based on the number of shares they hold. But if your co-operative has a complicated share structure, and a member decides to exit, it can create a difficult situation. You should discuss what happens if the co-op doesn't have enough money to pay the exiting member or what the exiting member is entitled to. This is particularly important to consider for worker-owned co-ops. While this may not be immediately obvious for game studios, it is more evident in brick-and-mortar businesses where there is a tangible product or service.
|
|
||||||
|
|
||||||
## Accommodations and Accessibility
|
|
||||||
|
|
||||||
This is a conversation that is constantly happening. It allows for experimentation. But most of all, it allows for the _broadest range of participation_ and capacities. Some might ask, "What about accessibility?" What about people who do one thing really well, learn at different speeds, or have different learning needs? If you have this granularity, it can be accommodated from the ground up – instead of waiting until you get the money.
|
|
||||||
|
|
||||||
And because it's so granular, it can be assigned to any type of work, including member-created games. The way our studio works is that every member is working on a game. It's one of the conditions for membership: A game project. It can be very slow, it doesn't have to be your masterwork game – but you are developing a game to participate in your own personal development and potentially work with others.
|
|
||||||
|
|
||||||
And that's why we have value flow.
|
|
||||||
|
|
||||||
## Value Flow in the Studio
|
|
||||||
|
|
||||||
We characterize value in our work in four ways. The first is **livelihood** work, which is the work we do for money that is client-facing or deliverable-based. We represent this value internally with the 🌽 (corn) emoji. The second way is **intentional** work, symbolized by the 🎯 (target) emoji, which involves direct participation and support we offer to another member because we feel the same level of support from them. This is like a sophisticated bartering system where we can intentionally record, denote and share an exchange of value that isn't actually transactional. It's based on mutual respect and trust, where we agree to help each other out without any expectation of immediate return.
|
|
||||||
|
|
||||||
The third way we value our work is through **community** work. This is the work that glues us together, and is often (otherwise) invisible. It's about social cohesion and collective benefit. For example, someone has to make sure to remember to do the filing for x, or someone has to post that social media reminder, even if there isn't a role yet. We track this type of work, which is often overlooked but essential for the community to function smoothly, with the 🚰 (potable water) emoji.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
All three of these values are transmutable and negotiable. It takes time and space to work these things out, but aligning with our values is important to have a grounded community. This is why we are so focused on values.
|
|
||||||
|
|
||||||
**Personal** or self-work (symbolized by the 🌀 cyclone emoji) is the final flow we consider, with an understanding that personal growth and development ultimately benefit the community. It should be an integral part of our values. It can't be just an occasional thing that happens on professional development days or when there is enough money to spare. We need to make room for it and structure it reasonably with our ultimate goals at the top of our minds. Everyone has their own version of this, including spending time learning Godot or a new feature in Unreal or something like that. Personal investment ends up percolating up to the rest of the community. And we track it, but it doesn't necessarily get transmittable in the same ways as literally as the other three.
|
|
||||||
|
|
||||||
These are absolutely not prescriptive ideas, by the way. This is how _we_ are experimenting with collectivism and meant to be an example. If you're on the journey to creating a collectivist studio, you are already helping shape new ideas and concepts. You might use these ideas differently than we do, but hopefully, they get your brain going about the possibilities and why we're so focused on values.
|
|
||||||
|
|
||||||
## Co-op Structure and Value Flow
|
|
||||||
|
|
||||||
Going back to what we learned about the accelerator earlier, we can now add attributes to it. For instance, the role of being the lead is high intensity, and requires high availability and a strong commitment to stewardship. This means that you'll need to have access to 🌽 livelihood funds flowing in and out for community development purposes.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
### Accelerator Node: High-Intensity Roles and Responsibilities
|
|
||||||
|
|
||||||
Now that we have established the high-intensity, high-availability, and stewardship commitment, we can discuss the specific responsibilities that come with it. These responsibilities include program coordination, impact measurement, funder presentations, and other detailed tasks. By breaking down these tasks, we can delegate them appropriately and even split larger roles when necessary. We can also identify any ad hoc work that needs to be done and allocate it to members who have the necessary skills. For instance, if a member is close to finishing their own project, we can offer them some extra pay to complete smaller tasks. We have the necessary tools and processes in place to make this happen.
|
|
||||||
|
|
||||||
## Mapping and Visualizing Co-op Nodes
|
|
||||||
|
|
||||||
When we examine our co-op nodes, we can begin by placing things where the ins and outs are. We can contemplate the idea that publishing is _in_ livelihood (it's actually _out_ livelihood as well), as it supports the community as a whole. We can start mapping and visualizing what this looks like in detail. This process helps us model our studio and bring clarity to our work.
|
|
||||||
|
|
||||||
It may take a while to get here – it's a cumulative process. And it requires patience.
|
|
||||||
|
|
||||||
## Value Accounting
|
|
||||||
|
|
||||||
Let's talk about how we discuss _value accounting_. We need to do this at every level of our nodes, with our various projects and commitments with each other. We look at the value flow assignments we have tracked and discuss them in detail. The conversation is based on our recorded information, but the anecdotes are equally important.
|
|
||||||
|
|
||||||
For instance, when someone spends a lot of time on a task, and it takes an emotional toll on them, we should consider that in our value accounting. This emotional hit can impact their ability to work on other tasks, and we need to be flexible to support them. We should make room in our budget to support members who do this work, even if it means working an extra day. It is not something that should be expected of them all the time.
|
|
||||||
|
|
||||||
### Addressing Workload Challenges
|
|
||||||
|
|
||||||
[At the budget accounting meeting], you might think, "We don't have the budget to [pay for] this [task we've asked one person to do]!" One person is doing a hard task, and nobody else can or wants to do it. The person is now asking for livelihood flow because the task took away time from other important things. The team is asking them to do it again next week, but the person is feeling the strain. They ask, "Can someone else take this on for next week, knowing that it's affecting me [adversely]? I can provide you with all the information you need, but I need a break from actually doing it." In this way, you can transform this from a burden on one person to a collective support effort. By sharing the workload, you can ensure that no one person is overburdened.
|
|
||||||
|
|
||||||
### Technology
|
|
||||||
|
|
||||||
Some co-ops (e.g., [DisCo](https://www.disco.coop/)) use blockchain and DAOs to track work, but we reject that approach. It is critical to prioritize _human conversation_ and measure it against your values. This allows you to practice and understand power dynamics. We cannot rely on computers to make these decisions for us. The decision-making process has to come from conversation.
|
|
||||||
|
|
||||||
This process may feel incredibly slow. We're developing an entire business model around it, and collaborating with many people with unique perspectives. Distributing resources fairly is essential, and we have clear ideas about the attributes that matter. We haven't discussed these attributes in detail yet, but we will later.
|
|
||||||
|
|
||||||
## Role Differentiation and Team Development
|
|
||||||
|
|
||||||
Under our roles, we have categories for intensity and expectations. For example, we differentiate between stewardship and simply completing a task. We need to clarify the requirements for each role and determine if we have the necessary expertise. If not, can we train our team members to fill those gaps? We need to weigh the pros and cons of investing time into training versus immediate productivity.
|
|
||||||
|
|
||||||
### Prioritizing Fair Wages and Sustainable Business Models
|
|
||||||
|
|
||||||
We have experimented with various business models, including contract game development services and web development. However, we now prioritize a model that provides immediate income with fair wages for the most number of people. Although it may be more challenging to implement, it allows our team members to invest in their own projects and secure production funding for their work within a shorter time frame.
|
|
||||||
|
|
||||||
## Conclusion
|
|
||||||
|
|
||||||
Coops represent a transformative approach to collective work and creativity. By embracing a model grounded in shared ownership, democratic governance, and mutual support, we pave the way for a more inclusive and sustainable video game industry. This article has illuminated the key aspects of implementing and sustaining a co-op structure, highlighting both its potential to empower and the challenges it may present. Next, we will look at decisions, conflict, and prioritization
|
|
||||||
|
|
||||||
## Questions to Consider
|
|
||||||
|
|
||||||
- How is value communicated and tracked within your co-op?
|
|
||||||
- How do your values inform roles and skill development?
|
|
||||||
- Is investment important to you?
|
|
||||||
|
|
||||||
_This content was developed by [Gamma Space](https://gammaspace.ca) for a 2023 Baby Ghosts cohort presentation. We have summarized and adapted it here._
|
|
||||||
|
|
@ -1,287 +0,0 @@
|
||||||
---
|
|
||||||
title: Decisions and Conflict
|
|
||||||
description: ''
|
|
||||||
category: studio-development
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.624Z'
|
|
||||||
---
|
|
||||||
# Decisions, Conflict, and Prioritization
|
|
||||||
|
|
||||||
## Overview
|
|
||||||
|
|
||||||
In this exploration of decision-making within a collective studio environment, we navigate the intricate dynamics of _collective consensus_ and _collaborative governance_. This article delves into the methodologies and practices that make decision-making in a co-op structure both unique and effective. We will explore how to balance individual voices with collective goals, the importance of transparent communication, and the tools and techniques that facilitate democratic decision-making.
|
|
||||||
|
|
||||||
## What Are Decisions?
|
|
||||||
|
|
||||||
So, decision-making! Decisions, decisions, decisions. What exactly are decisions? And why do we decide?
|
|
||||||
|
|
||||||
We make decisions to come to a resolution or agreement as a result of consideration. Sometimes, it can be straightforward and swift, and sometimes, it can be really frustrating or even vague and nebulous. So, what do we do? We try to figure out the alternatives and options. We try to gather the information or knowledge that we need to make informed decisions.
|
|
||||||
|
|
||||||
When situations, opportunities, blocks, or barriers arise, decisions are important because we need to make a judgment. That judgment will help us to act with as much information and consideration as possible. Sometimes, it's a worst-case scenario, but sometimes, it's a breakthrough scenario, where decisions help us to resolve or settle a question or a contest. Sometimes, when something comes up, people have wildly divergent opinions, assessments, or analyses of what's going on. The decisions will help break a block, stalemate, or place where we feel at odds with what is happening.
|
|
||||||
|
|
||||||
It's worth breaking it out like this because decisions are so present in our everyday – from the time we get up in the morning, to the food we eat, to whether we go to work or not. Do I want to go back to this horrible job? Or do I want to be broke? There are big decisions and small ones – thousands that we all make each day.
|
|
||||||
|
|
||||||
There are some truisms about decisions. Because there are a lot of very learned people and people who have gone deep into what it means to make decisions and how they run our lives, and just how all-encompassing our decisions are.
|
|
||||||
|
|
||||||
Many people have experienced writer's block or creative block and have procrastinated. People who have a brain difference or have lived through periods of trauma may find decision-making challenging. When faced with these situations, it can be painful, and sometimes it feels impossible to make a decision. We start to realize that we are our decisions.
|
|
||||||
|
|
||||||
### Context
|
|
||||||
|
|
||||||
Many Indigenous cultures around the world believe that the decisions we make today will affect our descendants for seven generations. This concept applies to things like the environment and how we use our resources. Every decision we make defines who we are, and we often don't realize it.
|
|
||||||
|
|
||||||
Nelson Mandela said, "May your choices reflect your hopes, not your fears." There are a lot of fear-based decisions that dominate the world and lead to more fear-based decisions that lead to violence, conflict, war, and a lot of harm. It's worth keeping as a guiding light the idea of making hope-based decisions.
|
|
||||||
|
|
||||||
Finally, Roy Disney, Walt Disney's younger brother, said, "Decision making is easy when your values are clear." Even at this kind of corporate mainstream level, it's possible to constantly foreground values.
|
|
||||||
|
|
||||||
## Approaches to Decision-Making
|
|
||||||
|
|
||||||
### Majority Voting
|
|
||||||
|
|
||||||
In parliamentary democracies like Canada and confederacies like the United States, majority voting is usually the norm. However, what many people don't know is that there are two types of voting – passive and active. While the former is more common, the latter is more transparent and can be very helpful in documenting one's consistency and track record of voting, especially in community organizations.
|
|
||||||
|
|
||||||
While majority voting requires at least 50% plus one vote, there's also the concept of a two-thirds majority vote, which indicates a much higher level of support. This is common in places like share corporations and can be essential for ensuring transparency, which is a value that many people prioritize.
|
|
||||||
|
|
||||||
**Types of Majority Voting**
|
|
||||||
|
|
||||||
| Type | Voting |
|
|
||||||
| ---- | ----- |
|
|
||||||
| majority | 50% +1 |
|
|
||||||
| two-thirds majority | 66% |
|
|
||||||
| passive | only counted if close |
|
|
||||||
| active | all votes named and documented |
|
|
||||||
|
|
||||||
|
|
||||||
### Consensus/Unanimous Voting
|
|
||||||
|
|
||||||
Aside from majority voting and two-thirds majority voting, there is also consensus voting, which involves reaching an agreement through discussion and compromise. This approach can be helpful in situations where there are multiple stakeholders with different perspectives and interests.
|
|
||||||
|
|
||||||
Please note that a unanimous vote may not necessarily be the most powerful indication of agreement. Consensus is more meaningful as it shows the level of intention and engagement of everyone involved in the decision-making process. When everyone is in agreement and actively participates in the conversation, it is a clear demonstration of consensus.
|
|
||||||
|
|
||||||
### Passive Consensus
|
|
||||||
|
|
||||||
In contrast, there are instances where decisions are made passively, without anyone actively opposing them. For example, in meetings, a topic may be discussed, and without anyone raising any objections or wanting to discuss it further, the group moves on to the next topic. This is also a form of consensus, but one that happens due to a lack of opposition.
|
|
||||||
|
|
||||||
It's essential to recognize these moments of passive agreement and understand that they are also decisions being made. You might feel uncomfortable or unhappy about the outcome of such passive agreements. It's crucial to voice your opinion and ensure that everyone is actively participating in the decision-making process.
|
|
||||||
|
|
||||||
| Type | Description |
|
|
||||||
| ---- | ----- |
|
|
||||||
| Consensus | all present are in agreement |
|
|
||||||
| Passive consensus | all are assumed to agree unless stated otherwise |
|
|
||||||
| Active consensus | each person states and documents their agreement |
|
|
||||||
|
|
||||||
In a cooperative setting, transparency is essential. Consensus is a great way to achieve transparency, and it is worth considering in the early stages of building a co-op structure, relationships within the co-op, values and alignment.
|
|
||||||
|
|
||||||
Where do we make these decisions? And what scope do they have? Structural decisions, such as those that relate to bylaws and legal registration, need to be formalized and made by the whole co-op. However, operational decisions need to be made regularly and collectively. It is important to determine who makes these decisions and how they will be communicated to the group. Is decision-making in the hands of certain people? Is it in the hands of those individuals and not shared between other members? Or are these process decisions being made on a regular basis, and then everyone goes and executes according to collective decisions? It's a question.
|
|
||||||
|
|
||||||
Decisions make collaborations work or not work. Decisions can be made based on information and reflection. And they can also be made transparent by narrating them, documenting them and having them made in advance through conversation and dialogue.
|
|
||||||
|
|
||||||
Finally, decisions are made not just at the beginning of the flow but all the way through all the stages of your work. They are going to affect your output, whatever it is – e.g., we chose to hire somebody, we are bringing more members in, we have applied for grants, we are seeking funding, we are developing a game, and we've now launched and finished the game. Everything that we have as an output is affected.
|
|
||||||
|
|
||||||
Let's recap the typical location and scope of decisions:
|
|
||||||
|
|
||||||
Members are responsible for decisions that affect the co-op as a whole, so they are co-op-affecting. (If this is not done by members, we're doing something wrong!)
|
|
||||||
Directors are process-affecting. They might hire based on the decisions of the members (this can be written into the bylaws in very specific ways).
|
|
||||||
Management is collaboration-affecting, e.g., how you run a meeting.
|
|
||||||
Workers make decisions around output-affecting things.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
### Node-Based Decision-Making
|
|
||||||
|
|
||||||
Gamma Space has a complex node structure that can be confusing to navigate. Let's take a closer look at the flattened node view we discussed earlier. It's a series of expanding circles with nodes attached to them. Although members are still responsible for making cooperative decisions, those decisions are passed up through the node structure to the directors, who help inform the decision-making process.
|
|
||||||
|
|
||||||
When we enter a node, we can see that it's responsible for three things: coordinating the process, facilitating collaboration, and delivering the final output. These three responsibilities are always in service to what the members have said they want to achieve. Inside the node, there is a lead member, a support role, and ad hoc participation by other members or contractors. This structure is decided at the node level and passed through to the rest of the team.
|
|
||||||
|
|
||||||
If we dig deeper, our community functions are essential to how the cooperative operates, and members participate in these functions based on their respective responsibilities. For example, if we have a governance working group, the directors don't make decisions on collaboration independently. Instead, they collaborate with the group members to make decisions based on a menu of processes available in our operations manual or develop something new. Members still play a significant role in the process.
|
|
||||||
|
|
||||||
So, when we talk about the collaboration method, it's still the members who contribute to the output. Each member has a self-contained node, and these nodes have microcosms of all the essential functions. We keep iterating through these different layers and circulating them around, trying to come up with different orders that make sense. We document our progress as we go along.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
## Values-Based Decision-Making
|
|
||||||
|
|
||||||
We have now explored the concept of decision-making, its scope, and its areas. But what about decision-making based on values? When our values are evident, decision-making becomes easy. Understanding the reasons behind it can be helpful.
|
|
||||||
|
|
||||||
Values provide direction, motivation, and grounding. When we articulate who we are as a studio, why we collaborate, and what we aim to create, making decisions in all directions becomes more comfortable. Even on groggy Monday mornings, when we wake up feeling overwhelmed by the stresses of the week before, our values help us navigate the day better. When our values are clear, we know what to expect, and we can face the day with a sense of purpose.
|
|
||||||
|
|
||||||
Values also help us clarify who is going to be impacted by decision-making? Who needs to be included in any given set of decision-making? And who are we seeking to empower through those decisions?
|
|
||||||
|
|
||||||
There's an expression that came out of disabled people's organizing in South Africa: "Nothing about us, without us, is for us." This expression has been applied in many different ways since it came forward in the 1980s. Who is going to actually make the decisions? How are we going to empower those people? Think about how your values inform that.
|
|
||||||
|
|
||||||
What is values-based decision-making? What values? Values help determine the needs that we have for our studio and for our individual members making games. They help us with the Layers of Effect exercise, which we will come back to later. What do our decisions determine in terms of our needs, goals, activities, and the resourcing and capacity that we have?
|
|
||||||
|
|
||||||
How do we do it? It's a process that will help us define:
|
|
||||||
|
|
||||||
- **WHY**: provides direction, motivation, and grounding
|
|
||||||
- **WHO**: clarifies who is impacted, included, and empowered
|
|
||||||
- **WHAT**: determines needs, goals, activities, resources, and capacity
|
|
||||||
- **HOW**: describes the process to inform, discuss, choose, prioritize, distribute responsibilities, document, execute, and measure our work
|
|
||||||
|
|
||||||
For the people who make the decisions, that's a lot of responsibility and accountability. And it's a lot of power in the micro and in the macro.
|
|
||||||
|
|
||||||
Document decisions. Documents serve as a guide and a reference point for how we execute our work. When we establish a structured decision-making process and consistently practice it, we can anticipate and measure the impact of our work. We can make better decisions and have a clear understanding of our work before we execute it.
|
|
||||||
|
|
||||||
Applying our values helps us to prioritize our needs based on what matters most to us. By doing so, we gain a better understanding of the environment we're working in, including the resources we have available, such as people, talent, time, and cash flow.
|
|
||||||
|
|
||||||
Our values also determine how we schedule our priorities and allocate responsibilities among team members. Depending on their experience, skills and training, some members may bear more responsibility than others for certain decisions. This helps us to determine the level of commitment and intensity required for each activity.
|
|
||||||
|
|
||||||
Lastly, our values guide us in making and documenting our decisions, ensuring that they align with our principles and beliefs.
|
|
||||||
|
|
||||||
## Tool Examples
|
|
||||||
|
|
||||||
### Collaborative Meeting Format
|
|
||||||
|
|
||||||
Gamma Space has developed a set of tools that align with our values and meet our needs. These tools are centred around the concept of meetings and how to conduct them effectively. It involves understanding our resources and power dynamics and creating meeting formats that can be adapted for various situations. The ability to have different people lead and take on different roles in these meetings is a powerful tool.
|
|
||||||
|
|
||||||
It's important to think about the outcomes of these meetings and learn from the process. By using visual collaboration methods, this learning process can be sped up.
|
|
||||||
|
|
||||||
One of the first things to think about is roles. If one person is always the facilitator, they may be seen as a de facto spokesperson or leader. This is why we rotate that role between members, giving everyone the opportunity to learn new skills. It's important to try to rotate in folks who find it uncomfortable – not to punish them, but to align your practices with your structure and values. (Of course, make space for illness, anxiety, and other accessibility considerations and don't force a role on someone who really doesn't want to do it.)
|
|
||||||
|
|
||||||
Give everyone an equal opportunity to contribute when starting out. This covers various responsibilities, such as collecting agenda items if you're the facilitator and ensuring that there is a designated speaker and a rough estimate of how long they will speak. This creates an opportunity for the timekeeper to guarantee a smooth flow of proceedings and ensure that we stay within time at various stages of the meeting. Lastly, there is the secretary role, which involves writing minutes and sometimes creating visual aids.
|
|
||||||
|
|
||||||
These will vary by the type of meeting and how you decide to record things. But it's important to designate someone to document or be responsible for the final outputs of a meeting.
|
|
||||||
|
|
||||||
First, the agenda. We often make agenda items as visual objects that can be moved and dragged around our Miro board. We describe:
|
|
||||||
|
|
||||||
- the duration of each topic in minutes
|
|
||||||
- who is bringing that item forward
|
|
||||||
- value flow by emoji (that is, is it related to livelihood, community, intention, or self?)
|
|
||||||
|
|
||||||
Right off the top, we have check-in – usually just a simple question that can be answered in a few words, like, what's your temperature/weather/vibe today. We then take a moment to confirm the agenda and revise it with any last-minute additions or removals. We make sure that everyone is represented on the Miro board by a different coloured sticky.
|
|
||||||
|
|
||||||
Next, each person who is bringing a topic forward identifies the relevant value flow emoji and places it on a Cartesian plane. You can see there is a continuum between different value flow types, such as between self and community; and between livelihood (which is really about resources, either for an individual or for the co-op, depending on the scope of the meeting) and intentional work or something that might be traded in kind.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
During the meeting, we move these emojis around the board. Sometimes, we take a snapshot of our value flow map before and after the meeting to see how perspectives changed.
|
|
||||||
|
|
||||||
Each of those items can have sticky notes with more details, as well. This way, we can see how the dynamic of the conversation progressed, which then leads us to extract action items.
|
|
||||||
|
|
||||||
The secretary carefully records decisions and action items, such as:
|
|
||||||
|
|
||||||
- Update a document
|
|
||||||
- Buy the software we're talking about
|
|
||||||
- Draft and send an email
|
|
||||||
|
|
||||||
For each action item, we can identify which value flow it relates to.
|
|
||||||
|
|
||||||
This is just one example of how decision-making can work. No matter what structure or process you choose, it's helpful to think about:
|
|
||||||
|
|
||||||
- Where are you spending your time in a given meeting type or area of your co-op's development?
|
|
||||||
- If you're spending all your time talking about one topic, is that having a detrimental effect?
|
|
||||||
- What areas have been neglected in the last few meetings?
|
|
||||||
- What tools can you use to ensure neglected areas are addressed more frequently?
|
|
||||||
|
|
||||||
## Using Layers of Effect
|
|
||||||
|
|
||||||
You might be wondering why we're bringing back the Layers of Effect. Haven't we already talked about it? We did, but now you might have more context, and it might make more sense. This tool aids decision-making, helping us understand how our intended impacts contribute to our goals.
|
|
||||||
|
|
||||||
We've mocked up what it would be like to discuss switching to Godot, for example. Now we can see what that decision would mean for our studio. Is it important for us to prioritize open-source tools? When we make a decision like that, and it's beneficial, we can measure the impact and make a decision. We can visualize it and decide.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
You can mix and match these different tools and components to meet your needs. You will learn what works for you and your team. These are just examples; you might have other ones that work better for you. We always encourage folks to develop their own processes because they'll be more likely to fit your unique values and represent you as individuals in the studio. All of these tools are hackable! Here's the Layers of Effect template.
|
|
||||||
|
|
||||||
### Data-Informed Decision-Making
|
|
||||||
|
|
||||||
One way to make decisions that are auditable and data-informed is to use some sort of measurement framework. In our example, we're using an impact measurement framework (IMF). Developing an IMF is recommended if you are aiming to have a social impact in your studio. [You can learn more about this topic here.](/articles/impact-measurement)
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
One thing we measure is the number of active participants in Slack over time. Assuming we recorded an increase in active participation over a quarter, we would make certain decisions based on that, as increased activity implies greater engagement. It also might tell us about specific topics or times that people are more interested in or active in. Given this interest, we would increase our investment in resources in community-building. We could bring more folks into the community if we see exceptional active engagement. This is one way that we can use data to directly inform decisions in a way that's responsive to the life of your community or your project.
|
|
||||||
|
|
||||||
## Values-Informed Tools
|
|
||||||
|
|
||||||
When selecting or designing decision-making tools, allow yourself to be guided by the underlying principles of your cooperative. This may seem obvious, but it's worth repeating. Incorporate your values to ensure equitable outcomes, and make sure they are easily referenced, tracked, and summarized. Even if transparency is not one of your core values, it should be a part of your key processes. You could use a value slot to express that you value transparency, but it might be more helpful to articulate how your studio is trying to achieve transparency in a specific way.
|
|
||||||
|
|
||||||
## Conflict Resolution
|
|
||||||
|
|
||||||
Sometimes, when decisions get made without transparency because people are just rolling with things, conflict can arise. To balance out this topic today, let's look at conflict and conflict resolution.
|
|
||||||
|
|
||||||
Reaching a consensus decision or even a majority decision is a collaborative process that involves coming to an agreement through different means. However, conflict is the opposite of this. It is a serious disagreement that cannot be resolved smoothly through normal means. Conflict can become protracted, frustrating, and debilitating to progress in work. It can also cause hurt, pain, or stress that makes it difficult to go to work. Essentially, conflict arises when a person experiences a clash of opposing wishes or needs.
|
|
||||||
|
|
||||||
We have discussed the importance of considering needs in addition to goals and aligning them with factors such as capacity. Conflict may arise when there is an incompatibility between two or more opinions, principles or interests, which can stem from a difference in values. Begin by identifying and articulating values, as this lays the foundation for smooth communication and collaboration. When values are clearly defined, everything else becomes much easier.
|
|
||||||
|
|
||||||
### Pseudo-Conflict
|
|
||||||
|
|
||||||
Conflicts can take various forms. Sometimes, what people perceive to be a conflict is actually a pseudo-conflict or nothing more than a misunderstanding. Misunderstandings can be a result of misalignments in communication. Take the time to assess each situation carefully, giving yourself and others involved some space and time – which can change your perspective. If you can, chat with a friend you trust. You may come to realize that you agree but simply don't understand what the other person is talking about. Take a step back and try again.
|
|
||||||
|
|
||||||
### Simple Conflict
|
|
||||||
|
|
||||||
An example of a simple conflict is when you say, "Let's agree to disagree. I don't agree that making this decision in this way is in our best interests, but you have presented a really good case." Imagine your team is deciding between using Unity and Godot. If you are not the person working in the engine every day, you might disagree with the switch to Godot but decide to go along with the majority vote because it's not your role.
|
|
||||||
|
|
||||||
### Ego Conflict
|
|
||||||
|
|
||||||
There are also ego conflicts where things get personal. Someone may say, "I'm the sole expert on this thing. I've got all these extra years of experience," or "I've got this award." Instead of being able to be flexible and open to other opinions and perspectives, no matter where they come from, their ego prevails.
|
|
||||||
|
|
||||||
That's often where conflicts become personalized and framed as character differences. There are many ways in which we perceive that this person can never get along with this other person. That's why we need to understand what is actually a conflict. If we come back to the touchstone of our values, the type of conflict might be made clear, and how to go about resolving it can be made clear.
|
|
||||||
|
|
||||||
### Resolution
|
|
||||||
|
|
||||||
So that takes us to conflict resolution:
|
|
||||||
a formal structure of policies and processes that everyone agrees to before conflicts arise
|
|
||||||
the pre-agreed policies can help to depersonalize conflict and the steps to resolution
|
|
||||||
can set the stage for a third party to support your process
|
|
||||||
|
|
||||||
It's best if everyone agrees to these principles and practices in advance. Take an average afternoon, order a pizza for the team, or go onto Zoom and discuss conflict resolution while there is no conflict in the mix. Don't wait for a crisis.
|
|
||||||
|
|
||||||
Setting up a formal structure and set of policies can help to depersonalize the process and the steps to a resolution. It drains the intensity and drama out of the conflict. It helps everyone see things more dispassionately, even if at the beginning and the middle, you felt nothing but passion! And it's also allowing the people involved to say, "This isn't about who I am. It's about what's at play or what's at stake."
|
|
||||||
|
|
||||||
Conflict resolution also sets the stage for a third party to support your process of resolution if things feel like they're too twisted, tangled, or personal within your studio. A third party can come and look at the processes that you have and actualize and animate them.
|
|
||||||
|
|
||||||
So why do conflict resolution? Like anything – an illness, infection, strained muscle – if you leave it unaddressed, it will get worse. If you avoid conflict by not following a process and giving it time and space (but not too much time and space), the problem can escalate. It can cause a lot of harm – sometimes irrevocable harm or harm that ends up breaking things apart.
|
|
||||||
|
|
||||||
### Prevention
|
|
||||||
|
|
||||||
Prevention of conflict is the best medicine, just like anything that feels painful, hard or difficult. But not all conflict is necessary to avoid, and a lot of times, we grow through conflict! Early intervention in conflict can be beneficial and also vital to fostering deeper collaboration and maintaining a healthy and respectful creative environment.
|
|
||||||
|
|
||||||
Sometimes, early intervention is not possible. Sometimes, team members don't agree that something is a conflict, or they don't believe it is yet at the intensity or scale that's worth addressing. And so it festers. How do we do prevention in this situation?
|
|
||||||
|
|
||||||
We suggest that you research and understand your individual conflict style in advance. Remember: Conflict resolution isn't just done at the time of conflict. It is something you should anticipate. It's part of life. You don't have to see it as only dire and painful because conflict leads to change and sometimes radical transformation and growth.
|
|
||||||
|
|
||||||
Here are some steps to take to start addressing conflict:
|
|
||||||
|
|
||||||
1. Research and understand your own individual conflict style.
|
|
||||||
2. Collectively create a conflict resolution process that suits your studio, your core values and your culture.
|
|
||||||
3. Decide who will be the contact person or people managing your formal conflict resolution process.
|
|
||||||
4. Establish a third party (or even two) to serve as a backup in case the contact person is involved in the conflict.
|
|
||||||
5. Educate each other regularly about the conflict resolution process and encourage changes to it.
|
|
||||||
|
|
||||||
> We are a diverse group of individuals gathered in this room today, working together in a coalition despite our many differences. Every person has their own unique journey in life, which leads to differences in opinions and perspectives. However, in our studio work, there tends to be a dominant culture that forms as a result of the relationships we build. That's why we place a strong emphasis on our values, to ensure that they are aligned and become an integral part of our workplace culture.
|
|
||||||
|
|
||||||
### More on Personal Conflict Style
|
|
||||||
|
|
||||||
There's a lot of research that's been done on conflict because it's so ingrained at the interpersonal, family, neighbourhood, school and community level.
|
|
||||||
|
|
||||||
Take a group project in school as an example. You may remember those leading to conflicts. Someone would end up doing more work than others, or someone wouldn't do any work at all. But we rarely asked our teammates why. Maybe they were sick, going through hell at home or simply couldn't understand the assignment. We never knew for sure because we probably avoided those important conversations.
|
|
||||||
|
|
||||||
But by examining our own conflict styles, we can start to understand why certain situations may arise. For example, some people may tend to compromise too much when trying to please everyone in the group. Others might avoid conflict altogether, thinking that any disagreement could result in a loss for everyone. Meanwhile, some might be overly accommodating and give in too quickly, leading to feelings of resentment. Then, some compete fiercely due to their competitive nature or upbringing.
|
|
||||||
|
|
||||||
Understanding our own conflict styles can help us navigate projects and other situations more effectively. By recognizing our own tendencies and those of others, we can work together toward a more productive and harmonious outcome.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
We don't know where these conflict styles originate, but they can be both beneficial and harmful to our studios. The Thomas Killman model provides a scale to measure these styles in terms of empathy (low to high on the bottom) and assertiveness (low to high on the top), which is worth researching. Understanding your own conflict style and sharing it transparently in meetings can help us learn about each other, increase empathy, encourage assertiveness, and ensure everyone participates fully without being left out.
|
|
||||||
|
|
||||||
## Conclusion
|
|
||||||
|
|
||||||
Putting it all together:
|
|
||||||
|
|
||||||
- **Values** inform decision process and priorities
|
|
||||||
- **Structure** informs flow of responsibility
|
|
||||||
- **Goals and impact** help measure success
|
|
||||||
- **Understanding conflict happens** is the best prevention
|
|
||||||
|
|
||||||
Everything comes back to values. Values play a vital role in shaping our decision-making processes and priorities, whether we express them or not. They are always at play, guiding and informing our actions. When we work together in a collaborative and cooperative environment, it is crucial to be transparent with our values, allow them to guide us, and bring us in alignment. This helps us make better decisions, organize responsibilities, and streamline our work. For instance, it can be helpful to have guidelines for note-taking during meetings, creating agendas, and mapping out our plans. It is also essential to be clear about our goals and the impact we want to create. Ultimately, our values drive our aspirations and desires to make a positive impact. Finally, we must acknowledge that conflicts are inevitable, but we can prevent them by understanding their underlying causes.
|
|
||||||
|
|
||||||
## Questions to Consider
|
|
||||||
|
|
||||||
Here are some things you can think about related to structuring and decision-making within your team. As you discuss these ideas with your team, consider how your intended structure affects roles and decision-making. You should also consider how you can evaluate and communicate your conflict resolution style to your team members. Be aware of your own tendencies and share them with your team.
|
|
||||||
|
|
||||||
- Do we all have to come together to make creative decisions equally?
|
|
||||||
- Do roles and structures encourage hierarchy?
|
|
||||||
- How does individual agency affect decision-making in more minor decisions?
|
|
||||||
|
|
||||||
_This content was developed by [Gamma Space](https://gammaspace.ca) for a 2023 Baby Ghosts cohort presentation. We have summarized and adapted it here._
|
|
||||||
|
|
@ -1,30 +0,0 @@
|
||||||
---
|
|
||||||
title: Expo Tips
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.230Z'
|
|
||||||
---
|
|
||||||
# Rocket Adrift Tips for In-Person Expositions
|
|
||||||
|
|
||||||
_Thanks Lindsay, Sloane, and Titus!_
|
|
||||||
|
|
||||||
- Comfy chairs for folks playing and working the booth.
|
|
||||||
- Can be pricey to rent so try to bring your own somehow.
|
|
||||||
- Bring additional branding materials.
|
|
||||||
- Decoration stuff like table skirts, flowers, and things can help.
|
|
||||||
- Secondary monitor running trailer with branding.
|
|
||||||
- Or possibly bringing Steam Decks for more players.
|
|
||||||
- Dress to impress!
|
|
||||||
- Cheap t-shirts can be fun.
|
|
||||||
- Matching jackets are very cool.
|
|
||||||
- Bring garbage collection and cooler for snacks/drinks.
|
|
||||||
- B2B (business-to-business) is a tough calculation so make sure it’s worth the time off and price.
|
|
||||||
- Are you reaching players?
|
|
||||||
- Print lots of postcards and business cards!
|
|
||||||
- Make postcards with a blank space so you can add your contact info if needed.
|
|
||||||
- You can get them sent to the hotel ahead of time - Henry.
|
|
||||||
|
|
||||||
And a special tip from Henry: bring lozenges!
|
|
||||||
|
|
@ -1,581 +0,0 @@
|
||||||
---
|
|
||||||
title: Financial modelling
|
|
||||||
description: Introduction to financial modelling for game development cooperatives
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Jennie
|
|
||||||
publishedAt: 2025-11-10T10:42:09.224Z
|
|
||||||
---
|
|
||||||
# Navigating Capital
|
|
||||||
|
|
||||||
## Financial Modelling and Investment Readiness
|
|
||||||
|
|
||||||
**The topic of fundraising can be fraught for folks struggling against capitalism's destructive influence.** This series will walk you through the steps you need to take to be ready to raise money in whatever form you plan to use—bank loans, grants, investments, revenue sharing, preferred share offerings, and more—without losing sight of your collectivist values.
|
|
||||||
|
|
||||||
There is much work to do in Canada to transform the funding mechanisms themselves to be more collectivist, such as promoting community funding models, mutual aid networks, and reinvesting profits directly back into communities and worker benefits. This is Weird Ghosts' mission. **In the meantime, game cooperatives implementing practices that align with their values can create better conditions for all workers now.**
|
|
||||||
|
|
||||||
|
|
||||||
## Why do financial modelling?
|
|
||||||
|
|
||||||
Financial modelling is one of those things that sounds incredibly complex to many folks outside the investment or finance space. But *every* business can benefit from the exercise, not just those seeking investment—and not only for-profit corporations. The skills you'll develop learning to create a financial model will help you build a sustainable foundation for your studio, whether you're a co-op or share corporation, non-profit or social purpose organization. And it's really not that hard! Hang in there and be patient with yourself. We'll break down everything as simply as we can. If there's something you're not familiar with, you can easily find [definitions online](https://www.investopedia.com/).
|
|
||||||
|
|
||||||
In the first section of this series, we'll cover our relationship with money and introduce financial analysis. We'll focus on the investment readiness aspect of the social finance ecosystem, so if you're preparing for impact investment, you're in the right place!
|
|
||||||
|
|
||||||
In the other sections, we'll focus on exploring capital-raising alternatives, building a pitch, and learning investor strategy. All of this will lead to investment readiness. Our goal is to leave you with the confidence you need to pursue an impact investment opportunity.
|
|
||||||
|
|
||||||
> Investment readiness for us means having the structural capacity to support *collective and community impact* by building autonomous collectives that operate independently of capitalist market pressures by *prioritizing social returns over financial ones*.
|
|
||||||
>
|
|
||||||
> Some parts of this series may also be helpful if you are preparing to pitch to traditional investors, VCs, or publishers. Just keep in mind that they will have *very* different expectations of your financial performance.
|
|
||||||
|
|
||||||
## Our Relationship with Money
|
|
||||||
We need to explore our relationship with money before we get into investment readiness. As founders serving a broad audience that includes marginalized folks (e.g., worker-members, players, and communities), we need to start by understanding biases and barriers.
|
|
||||||
|
|
||||||
Most marginalized founders will encounter *systemic and interpersonal biases* (related to gender, race, ability, and other factors), which will limit their access to capital, inclusion, agency, power networks, and confidence. **These are not just obstacles but are inherent features of a capitalist system designed to maintain class divisions and inequalities.**
|
|
||||||
|
|
||||||
Cultural programming and narratives reinforce the regressive and binary idea that "women shop" and "men invest," which affects the way we perceive money, especially when we have experienced a lack of it.
|
|
||||||
|
|
||||||
Marginalized founders tend to have a more complicated relationship with money. This issue can affect your willingness to seek funding, even if the timing is right. Many systemic factors hinder marginalized founders from accessing financing:
|
|
||||||
|
|
||||||
1. A lack of underrepresented people making investment decisions
|
|
||||||
2. Bias from traditional investors, who are mostly white men
|
|
||||||
3. Historical exclusion from financial education and generational wealth
|
|
||||||
4. A lack of industry understanding of worker-centric studio structures and sustainable growth
|
|
||||||
5. An underrepresentation of the types of games marginalized founders want to make
|
|
||||||
|
|
||||||
… and more.
|
|
||||||
|
|
||||||
This is compounded because less experienced folks tend to be more conservative and pragmatic when pitching their ideas, while those with years in the industry are more likely to sell a vision or a dream. Unfortunately, the scales usually tip toward the latter with investors.
|
|
||||||
|
|
||||||
> If you're not selling [hockey stick growth](https://www.investopedia.com/terms/h/hockey-stick-chart.asp), it will be challenging to get a traditional investor to understand your value proposition and impact.
|
|
||||||
|
|
||||||
This isn't meant to scare you! But the reality of Canada's funding system is that you will face headwinds.
|
|
||||||
|
|
||||||
### Biases and Anxiety
|
|
||||||
In recent years, funders' mindsets have shifted toward recognizing the challenges faced by marginalized founders and alternatively structured companies. More support is available now, and organizations like Weird Ghosts, Marigold Capital, EDC, Women in Technology Fund, Disruption Ventures, and many others are leading the way. These groups understand the struggles cooperative and worker-centric businesses face in a world that rewards individual entrepreneurs. Unfortunately, these issues are still prevalent, so let's take a look at these biases.
|
|
||||||
|
|
||||||
#### Reflection
|
|
||||||
|
|
||||||
*Use the following reflective questions to tease out your assumptions, anxieties, and biases.*
|
|
||||||
|
|
||||||
- What words come to mind to describe your feelings about investment?
|
|
||||||
- What pre-existing assumptions do you have about investment and raising capital?
|
|
||||||
- What words come to mind to describe what success might look like for you after the investment readiness journey?
|
|
||||||
|
|
||||||
You won't become an expert overnight. But you can identify your uncertainties about the process of raising capital. Take a step back and understand *why* you feel the way you do.
|
|
||||||
|
|
||||||
You may feel nervous about pitching because of your experiences with perfectionism or your relationship with money. **Lean on your support network and resources**, including bookkeepers and finance experts, to help navigate the jargon and provide support and encouragement. Remember, raising capital is possible, and others have done it. Don't be afraid to ask questions, Google, and search Investopedia!
|
|
||||||
|
|
||||||
Failure is a natural part of the process. But we can redefine what we consider failure and focus on impact as our goal.
|
|
||||||
|
|
||||||
## Accounting
|
|
||||||
|
|
||||||
Let's start with **financial statements** and the accounting process. *Accounting* refers to the practice of *recording, tracking, and reporting financial transactions within a business*. Financial statements are a tool to communicate this information. We will cover three types of financial statements: income statement, balance sheet, and cash flow statement.
|
|
||||||
|
|
||||||
You might wonder: *I have an accountant – why do I need to know this stuff?* Here's why:
|
|
||||||
|
|
||||||
- To understand your studio's operations so you can make informed decisions
|
|
||||||
- To analyze trends over time and make adjustments to the studio or game
|
|
||||||
- To communicate clearly with stakeholders and investors
|
|
||||||
|
|
||||||
Good news: You can do all of these things by *analyzing financial statements*.
|
|
||||||
|
|
||||||
### What are investors looking for?
|
|
||||||
|
|
||||||
Investors will ask for your financial statements within their first round of reviews to determine whether your business model makes sense. But as a cooperative (or shared-ownership) studio, your financial statements reflect a commitment to equitable distribution and collective benefit rather than merely generating returns for external investors. This is why carefully selecting the investors and lenders you approach and understanding what kind of return they are looking for is critical.
|
|
||||||
|
|
||||||
Some questions they may ask:
|
|
||||||
|
|
||||||
- **Net profit:** Are you making money now? If not now, when do you expect to?
|
|
||||||
- **Revenue:** Are people willing to pay for your game or services?
|
|
||||||
- **Cash flow:** Do you have enough cash on hand?
|
|
||||||
- **Burn rate:** How much does it cost per month to run your studio?
|
|
||||||
- **Margin:** What's the cost of making a sale?
|
|
||||||
- **Growth rate:** How fast is your business growing? (*Growth is likely not something you are pursuing—be ready to answer this by emphasizing how you can scale your **impact***)
|
|
||||||
- **Debt:** What's your current debt level?
|
|
||||||
|
|
||||||
Knowing how investors ask questions and demonstrating your knowledge of relevant terms shows that you are capable and ready to raise capital. Being educated on terminology prepares you to frame community-centric growth and sustainable practices over traditional profit motives.
|
|
||||||
|
|
||||||
## Financial Statements
|
|
||||||
|
|
||||||
> Looking at your financial statements from the perspective of an investor or lender, what would they think?
|
|
||||||
|
|
||||||
Your financial statements will transparently reflect how revenues are reinvested back into the cooperative and the community.
|
|
||||||
|
|
||||||
### Income Statement
|
|
||||||
|
|
||||||
Your **income statement** (or statement of operations) is a financial document that reflects your operations over a specific *period*. It tracks all the revenue generated from the sales of your games or services and deducts the associated costs. Additionally, it subtracts other expenses that you incur, like general and administrative costs, utilities, and rent. By subtracting all these expenses from the revenue, you arrive at your *profit*, which is the amount of money you've made over that period.
|
|
||||||
|
|
||||||
### Balance Sheet
|
|
||||||
|
|
||||||
The **balance sheet** represents a specific *point* in time, unlike the income statement, which covers a period of time. You can create a balance sheet or statement of financial position for the end of a fiscal year or any other important date. The standard way to set up a balance sheet is by using the formula: **assets = liabilities + equity**. (Not-for-profit organizations use net assets instead of equity.)
|
|
||||||
|
|
||||||
The three categories on the balance sheet are **assets**, **liabilities**, and **equity** (or net assets).
|
|
||||||
|
|
||||||
- **Assets:** Assets are tangible items that you own.
|
|
||||||
- Short-term assets include cash and accounts receivable.
|
|
||||||
- Long-term assets include equipment and property.
|
|
||||||
- Investors in traditional businesses prefer you have assets in case of bankruptcy.
|
|
||||||
- Assets on the books don't determine whether a studio is good or bad! But they can increase investor confidence.
|
|
||||||
- **Liabilities:** This is what you owe to others.
|
|
||||||
- Short-term liabilities include credit cards, accounts payable, and lines of credit.
|
|
||||||
- Long-term liabilities include debt that takes longer than a year to pay off, like bank loans or mortgages.
|
|
||||||
- If you have a significant amount of debt, creditors with priority have the right to your assets before others. This makes it riskier for investors or lenders who are subordinate to senior creditors, who will receive what is left over after they have been paid.
|
|
||||||
- **Equity (or net assets):** Equity balances the balance sheet and represents the amount available for an organization to use in the future.
|
|
||||||
- This amount depends on how you capitalize revenues and includes accumulated retained earnings.
|
|
||||||
- The yearly profit or loss and any decision to use these funds for future operations can change the net asset account balance.
|
|
||||||
|
|
||||||
### Cash Flow Statement
|
|
||||||
|
|
||||||
The **cash flow statement** is a core document for investors. It focuses exclusively on cash and shows how it is generated and spent.
|
|
||||||
|
|
||||||
If you're paying cash for all your expenses but not seeing revenue immediately (e.g., deferred payments from distributors or platforms or milestone payments from a publisher or investor), you will quickly run out of funds to keep the studio running and pay wages. **You should always know whether there's enough to make it through to the next period.**
|
|
||||||
|
|
||||||
The cash flow statement points out exactly when additional capital will be needed. Identifying when and where the cash gap will exist will help you talk to investors about how much cash is required. For example, saying that $50,000 will be needed in one year and $100,000 in two years will help investors understand how they can help fill that $150,000 gap.
|
|
||||||
|
|
||||||
## What is a Financial Model?
|
|
||||||
|
|
||||||
A financial model is *your best guess at how much money you'll make or need in the next three years.*
|
|
||||||
|
|
||||||
A good financial model shows the following:
|
|
||||||
|
|
||||||
::list
|
|
||||||
- Your business model
|
|
||||||
- The cost to deliver your games and/or services
|
|
||||||
- The cost to run your studio
|
|
||||||
- How many people you need
|
|
||||||
- How you plan to finance your studio
|
|
||||||
- How much money you need to raise
|
|
||||||
::
|
|
||||||
|
|
||||||
If you've applied for arts council or other government grants, you'll notice that applications and investor requests are similar.
|
|
||||||
|
|
||||||
|
|
||||||
# How to Create Your Financial Model
|
|
||||||
|
|
||||||
Financial modelling and scenario planning are the core tools we'll focus on in this section. Getting a handle on them will help you reach investment readiness, project future financial performance, and plan for different ways your studio's business might unfold over months or years.
|
|
||||||
|
|
||||||
## Three-Statement Method
|
|
||||||
|
|
||||||
The three-statement method for financial modelling is a widely used approach that involves creating three interconnected financial statements: the income statement, balance sheet, and cash flow statement. This isn't the only way—there are many different approaches to financial modelling, with varying degrees of technical and financial complexity. We're focusing on the three-statement method because it uses documents you likely already have (or should create) and because it is foundational to other methods.
|
|
||||||
|
|
||||||
Staying on top of your accounting practice—with the support of a professional, ideally—is extremely helpful for identifying trends over time, making informed decisions, and demonstrating financial knowledge to potential funders. It also lets you gauge the viability of a particular revenue model and the potential for a return on investment (ROI), which can guide you in making sound business decisions (and impress investors!). We encourage you to involve everyone in your studio in the process of analyzing and maintaining these documents, so that everyone is educated and able to contribute to financial and investment decisions.
|
|
||||||
|
|
||||||
## For Existing Studios
|
|
||||||
|
|
||||||
Let's get to creating your model! (New studio? [Jump to the next section.](#for-new-game-studios))
|
|
||||||
|
|
||||||
### Step 1: Choose Your Tool
|
|
||||||
First, pick your tool: Excel or Google Sheets. Whichever you're most comfortable with is fine.
|
|
||||||
|
|
||||||
### Step 2: Enter Your Historical Data
|
|
||||||
Next, in three separate sheets, enter up to three years of financial information for each of the three financial statements: income statement, balance sheet, and cash flow statement.
|
|
||||||
|
|
||||||
### Step 3: Analyze Your Financial Statements
|
|
||||||
|
|
||||||
So, how do you make sense out of all these numbers? Financial statement analysis involves examining *trends and relationships*.
|
|
||||||
|
|
||||||
**Horizontal analysis** (also known as trend analysis) compares financial data over several accounting periods to identify trends and growth patterns.
|
|
||||||
|
|
||||||
1. Think about periods that include major events for your studio, such as game launches, funding rounds, or marketing campaigns.
|
|
||||||
2. Calculate the percentage change from one period to the next for each line item on your income statement and balance sheet. Subtract the old value from the new value, divide the result by the old value, and then multiply by 100.
|
|
||||||
3. Look for items that show substantial changes and try to correlate these with events in your studio's history (or external events). For example, a spike in revenue might correlate with a showcase featuring your game.
|
|
||||||
4. To help you pinpoint trends, it may help to create charts and graphs to visually represent these changes over time.
|
|
||||||
|
|
||||||
**Vertical analysis** represents each line item as a percentage of a base figure, such as Revenue on the Income Statement and Total Assets on the balance sheet. This helps an investor compare your studio to others of different sizes.
|
|
||||||
|
|
||||||
1. Determine the base figure: For the income statement, use Total Revenue; for the balance sheet, use Total Assets.
|
|
||||||
2. Convert each line item into a percentage of the base figure. For instance, if Total Revenue is $500,000 and marketing costs are $50,000, marketing costs are 10% of Total Revenue.
|
|
||||||
3. Compare across periods or benchmark against industry norms (if you have access to that type of data, which can be tricky).
|
|
||||||
|
|
||||||
**Financial ratios** provide insights into performance. For game studios, which generally don't hold inventory and are rarely profitable in the early stages, the **current ratio** is most relevant. The current ratio assesses your ability to meet short-term obligations (such as salaries and loan payments). To calculate your current ratio, divide your company's total current assets by its total current liabilities.
|
|
||||||
|
|
||||||
### Step 4: Forecasting and Assumptions
|
|
||||||
Create a new sheet and calculate drivers (such as development costs and budget, funding, sales, release timing, and operating expenses, including wages) and ratios as detailed in the previous section. Based on these drivers, create assumptions (scenarios) for the next three years. You'll want to detail the best (unexpected runaway hit), worst (total flop), and most likely (somewhere in the middle) scenarios using information like industry trends, comparables, and economic downturns.
|
|
||||||
|
|
||||||
Don't write an essay on your assumptions or reasoning behind your comps. Just be diligent in the way you present this data.
|
|
||||||
|
|
||||||
### Step 5: Build Your Financial Statements
|
|
||||||
Complete your income statement. Your revenue streams likely include sales, subscriptions, grants, and service work. To arrive at net income, include calculated depreciation, interest, taxes, etc.
|
|
||||||
|
|
||||||
Build your cash flow statement using cash from operating, investing, and financing activities to determine the closing cash balance.
|
|
||||||
|
|
||||||
Finalize the balance sheet. Add the closing cash balance from the cash flow statement.
|
|
||||||
|
|
||||||
### Step 6: Linking and Integrating
|
|
||||||
Link your statements using formulas—changes in one should affect the others appropriately:
|
|
||||||
- Net Income from the income statement is added to Retained Earnings on the balance sheet, impacting equity.
|
|
||||||
- The opening line item on the cash flow statement under Operating Activities should be linked to Net Income from the income statement.
|
|
||||||
- Balance sheet items, such as loan liabilities, are reflected in the cash flows from financing activities on the cash flow statement.
|
|
||||||
- Asset transactions on the balance sheet, like purchases or sales, are represented as gains or losses on the income statement.
|
|
||||||
|
|
||||||
### Tips
|
|
||||||
Review the financial model from an investor's perspective, questioning your assumptions and changing figures to understand their implications. While traditional investors are looking for your path to profitability, social impact investors are looking for sustainability, the realism of your projections, and how you re-invest profits in the community.
|
|
||||||
|
|
||||||
Some common pitfalls to keep in mind are over-optimistic revenue forecasts, underestimating costs, and improper cash flow timing. These mistakes can affect the *realism* of your model and how investors perceive it. Avoid them through sober analysis, diligent research, and periodic reviews.
|
|
||||||
|
|
||||||
## For New Game Studios
|
|
||||||
|
|
||||||
📊 [Financial Model Template for New Studios](https://docs.google.com/spreadsheets/d/1SIrgtsRBtXY3d6AwkZS18Jes2AvRNOO4IMcEuk2ChoA/edit#gid=**0**) - choose `File > Make a copy`
|
|
||||||
|
|
||||||
If you're a brand-new studio (congratulations! 🎉), you need to build a foundation for investment readiness from the ground up. Here's how to do it:
|
|
||||||
|
|
||||||
### Step 1: Choose Your Tool
|
|
||||||
Select either Excel or Google Sheets based on your familiarity and comfort level. Create four separate sheets within your document for the income statement, balance sheet, cash flow statement, and assumptions.
|
|
||||||
|
|
||||||
### Step 2: Establish Your Initial Data
|
|
||||||
Since you don't have three years of historical data, start by estimating your initial costs. **Document all startup costs**, such as wages/salaries, legal fees, software licenses, computer purchases, and any other upfront payments needed to get your studio running. **Detail your funding strategy**, including any initial capital from personal savings, loans, or seed funding you expect to secure. **Estimate revenue streams** from game sales, in-app purchases, subscriptions, and advertising. Analyze market trends and comparable games to make realistic revenue projections.
|
|
||||||
|
|
||||||
You can break things down in whatever way makes sense to you—monthly, quarterly, "seasonally" (considering tradeshow season and launch windows), or annually.
|
|
||||||
|
|
||||||
### Step 3: Forecasting and Assumptions
|
|
||||||
Even without historical data, you can estimate future revenues based on market research/comparables, and expected sales trajectories. Consider revenue streams like direct game sales, subscriptions, or in-game purchases.
|
|
||||||
|
|
||||||
Budget for ongoing costs such as salaries, rent, marketing, and development expenses. Don't forget to include recurring expenses like software subscriptions and server costs.
|
|
||||||
|
|
||||||
Plan the best, worst, and most likely financial scenarios. Use industry benchmarks and market analysis to gauge potential outcomes for game launches and other revenue-driving events.
|
|
||||||
|
|
||||||
### Step 4: Build Your Financial Statements
|
|
||||||
- **Income statement**: Start by forecasting revenue and deducting estimated expenses to calculate your expected net income or loss for each period.
|
|
||||||
- **Cash flow statement**: Model your cash inflows from operations, financing, and investing activities. This statement is crucial for understanding cash burn rates and when additional funding may be needed.
|
|
||||||
- **Balance sheet**: Project your assets, liabilities, and equity. Initially, assets might include cash on hand and initial capital investments, while liabilities could include startup loans or credit lines.
|
|
||||||
|
|
||||||
> Remember! **assets = liabilities + equity**
|
|
||||||
|
|
||||||
|
|
||||||
### Step 5: Linking and Integrating
|
|
||||||
Use spreadsheet *formulas* to ensure that changes in one statement are automatically reflected in the others. This will allow you to adjust assumptions and immediately see the impact on all financial statements. For example:
|
|
||||||
|
|
||||||
- Net income from the income statement affects both Retained Earnings on the balance sheet and is the starting point for Cash Flows from Operating Activities on the cash flow statement.
|
|
||||||
- Purchases of assets in the cash flow statement should reflect as asset increases on the balance sheet.
|
|
||||||
|
|
||||||
### Tips
|
|
||||||
Constantly review your model to ensure it realistically reflects possible financial pathways and shows a clear route to sustainability. Regularly challenge your projections by adjusting the assumptions based on new market data or feedback from potential investors.
|
|
||||||
|
|
||||||
Be conservative with initial sales forecasts and factor in ample time for development and marketing work. Buffer for unforeseen expenses, such as protracted development time. Finally, new studios often struggle with cash flow timing; meticulously plan for when cash inputs and outputs occur.
|
|
||||||
|
|
||||||
You're on your way! Your financial model will be a massively useful tool when you approach lenders or investors and for internal planning. Don't worry about your model being perfect—most indies don't do this work, so you're well ahead of the game. You can and should revisit your numbers often, and you'll learn along the way what aspects serve your studio best.
|
|
||||||
|
|
||||||
|
|
||||||
# How to Prepare for Investment
|
|
||||||
|
|
||||||
In this section, we'll focus on investment readiness and preparing to talk to investors. We'll cover creating a pitch deck, building a deal room, and developing an investor strategy. We'll also walk through the stages of investment readiness, from initial preparation to pitching and engaging with investors.
|
|
||||||
|
|
||||||
**Set your expectations:** This section won't make you fully investment-ready. We'll focus on preparation, strategy, and pitches, but we won't cover term sheets and negotiations. There's lots to learn, and this is just a starting point.
|
|
||||||
|
|
||||||
## Prep
|
|
||||||
|
|
||||||
Your first step toward investment readiness is **preparation**. By reading this series, you're already on your way! 🙌🏻
|
|
||||||
|
|
||||||
You might be wondering:
|
|
||||||
|
|
||||||
::list
|
|
||||||
- When is the right time to raise?
|
|
||||||
- How much should we raise?
|
|
||||||
- What type of security should we issue?
|
|
||||||
- Wait… what exactly *is* a security?
|
|
||||||
::
|
|
||||||
|
|
||||||
You probably also want to know about the different types of investors and how to prepare your deal room. Let's get to it.
|
|
||||||
|
|
||||||
### When
|
|
||||||
|
|
||||||
Ideal times to raise funds include when you are planning to scale your dev team or prepare in advance (6-9 months) for your studio's roadmap. Investors look for studios with *validated* ideas, which you can show through community interest, successful demos, or early revenue streams. We can't stress this enough—an idea and a pitch deck are ***very, very rarely*** all you need to land an investment or a publishing deal.
|
|
||||||
|
|
||||||
Seeking funds because of an emergency cash shortage or undeveloped idea can telegraph a lack of planning and will likely be unsuccessful.
|
|
||||||
|
|
||||||
### How Much
|
|
||||||
|
|
||||||
Using your financial model, estimate your cash flow requirements to predict how much you need to raise. Identify all operating costs and milestones leading to your revenue goal. The expenses incurred to achieve these milestones will determine the capital you need to raise.
|
|
||||||
|
|
||||||
Traditional venture capitalists (VCs) are looking for big returns. Social impact investors don't seek this level of growth, but they still require you to map out major milestones and outcomes and calculate the capital needed to achieve them.
|
|
||||||
|
|
||||||
Ideally, you'll raise enough capital to secure an 18– to 24-month runway. Otherwise, you run the risk of constantly being in capital-raising mode. You want to avoid going back to your investors every year looking for more money.
|
|
||||||
|
|
||||||
Make sure you cover everything:
|
|
||||||
|
|
||||||
- Salaries, benefits, bonuses
|
|
||||||
- Rent, utilities, overhead
|
|
||||||
- Computers, equipment
|
|
||||||
- Legal, accounting, insurance, supplies
|
|
||||||
- Working capital, operating cash flow
|
|
||||||
- Contingency (10-20%)
|
|
||||||
|
|
||||||
## Securities
|
|
||||||
|
|
||||||
In finance, when you raise money in either private or public markets, you are issuing a security.
|
|
||||||
|
|
||||||
> Using traditional financial instruments can perpetuate capitalist norms and practices, even when used by cooperatives. Whenever you can, consider alternative financial practices that reject traditional tools, focusing instead on solidarity economy principles like bartering, shared resources, and common ownership.
|
|
||||||
|
|
||||||
The Ontario Securities Commission defines a security as a *financial instrument that is negotiable and holds some monetary value*—typically either debt or equity your studio issues. If you are considering issuing securities, it is essential to comply with the regulations of the security commission in your jurisdiction (e.g., [Ontario Securities Commission](http://www.osc.gov.on.ca/) ) and seek legal advice. There are various exemptions for accredited investors, offering memoranda and crowdfunding, under which you can file your securities with the OSE, allowing you to raise capital from different groups of investors.
|
|
||||||
|
|
||||||
### What type of security should we issue?
|
|
||||||
|
|
||||||
To simplify things, we'll cover two main types of capital here: traditional debt (a loan) and equity (where an investor buys shares).
|
|
||||||
|
|
||||||
While cooperatives cannot access equity capital from outside investors in the same way as traditional share corporations, they do have avenues to raise capital through member shares, investment shares, or preferred shares. The specific options available depend on the individual cooperative's structure and the relevant federal and provincial legislation.
|
|
||||||
|
|
||||||
| Debt (loan) | Equity (buying shares) |
|
|
||||||
| ---------------------- | ------------------------------------ |
|
|
||||||
| Lower risk | Higher risk, higher potential return |
|
|
||||||
| First money back | Lives and dies with company |
|
|
||||||
| First lien on assets | Unsecured |
|
|
||||||
| Negative covenants | Board governance |
|
|
||||||
| Inexpensive to company | Expensive to company |
|
|
||||||
|
|
||||||
So why is debt considered a lower risk for an organization to issue?
|
|
||||||
|
|
||||||
#### Debt considerations
|
|
||||||
|
|
||||||
Debt financing is **predictable** and **finite**. When you take on a loan, the terms are clearly defined from the beginning, including the duration and the interest rate, which is often fixed. This clarity makes forecasting much simpler. You are obligated to repay the loan amount (principal) along with interest over a set period of time. Once you fully repay your loan, the obligation ends – you only owe the principal amount and the accrued interest, nothing more. The lender does not gain any ownership in your company.
|
|
||||||
|
|
||||||
The primary source of loan repayment is generated cash flow. Lenders typically engage with businesses during the validation stage, assessing the likelihood of repayment based on projected revenues. Lenders consider the "Five Cs of Credit" when evaluating your creditworthiness:
|
|
||||||
|
|
||||||
1. **Character:** This refers to your track record of repaying debts. Lenders will look at your credit score.
|
|
||||||
2. **Capacity:** Lenders will consider your income and debts to determine your capacity. They want to ensure that you have the cash flow to cover loan repayments in addition to your other expenses.
|
|
||||||
3. **Capital:** This refers to the funds you've invested in the studio or personal assets that could be used to repay the debt if needed. It is sometimes referred to as *skin in the game*.
|
|
||||||
4. **Conditions:** The broader economic picture, including industry trends and market competition. During economic downturns, they may tighten lending standards.
|
|
||||||
5. **Collateral:** These are assets that the lender can seize if you fail to repay the loan.
|
|
||||||
|
|
||||||
#### Equity considerations
|
|
||||||
|
|
||||||
Equity financing means giving up a part of your studio for capital. This often leads to sharing control and profits. Equity investors typically seek higher returns than lenders and can make financing costlier, especially during periods of strong growth. An investor with a 5% stake in your studio will get 5% of profits or the sale price. Selling equity dilutes your ownership stake in the studio, which can impact your control over business decisions.
|
|
||||||
|
|
||||||
Equity investors differ from project funders (like publishers) as they focus on long-term potential rather than immediate project outcomes. These investors, including angels, VCs, and corporate venture funds, seek studios with scalable, exponential growth potential.
|
|
||||||
|
|
||||||
Equity investors sometimes come with more than money. They may have resources like industry contacts and strategic advice, which may open up new opportunities for your studio, depending on your goals.
|
|
||||||
|
|
||||||
You don't have to repay investors, but they aim to earn dividends and reap share value increases. Dividends are paid periodically from profits, while share value grows as the company succeeds.
|
|
||||||
|
|
||||||
You need to find the right funder at the right development stage. Both angel investors and VCs invest during the concept validation stage. As the project matures, publishers and investors become more viable, offering larger sums but often requiring a share of revenue or equity. Crowdfunding is also an option, ideal for validating market interest and securing funds without giving up equity. For earlier stages like ideation and discovery, many studios rely on self-funding, jams and competitions, arts council grants, and accelerator or incubator programs like Baby Ghosts. These are opportunities to build and validate your demo.
|
|
||||||
|
|
||||||
> **The most effective way to fund your business is through sales revenue.** Using profits for growth is the least expensive form of capital. If you can swing it, this is the way.
|
|
||||||
|
|
||||||
> [Jason Della Rocca](https://dellaroc.ca/) is a wonderful industry resource on the topic of funding and pitching to mainstream VC studio and project investors. Search for his articles and videos if this is the route you're interested in. [Here's a list of game-industry VCs.](https://nextgengamingclub.com/#investors)
|
|
||||||
|
|
||||||
### Types of Securities
|
|
||||||
|
|
||||||
Here are a few of the many different types of securities you might consider. Some are more relevant to co-ops ([investment shares](#investment-shares), [preferred shares](#preferred-shares), and [SEAL agreements](#shared-earnings-agreement)).
|
|
||||||
|
|
||||||
#### Debt
|
|
||||||
A lender provides capital with the expectation that it will be paid back in a specific time frame (term), with an agreed-upon markup to compensate them for their risk (interest rate).
|
|
||||||
|
|
||||||
#### Convertible Debt
|
|
||||||
A type of debt that can be converted into other types of securities (i.e., equity) based on predefined criteria.
|
|
||||||
|
|
||||||
#### Preferred Shares
|
|
||||||
Preferred shares provide dividends at predetermined rates ahead of common shareholders. They typically lack voting rights and do not confer the title of co-ownership but provide greater security during liquidation. Your articles of incorporation should outline the specific terms of the preferred shares.
|
|
||||||
|
|
||||||
#### Investment Shares
|
|
||||||
Investment shares are a relatively new option that provides cooperatives with an additional means to raise capital beyond traditional member shares. Investment shares can be issued to members and non-members, although you can specify that they are made available only to members in your coop.
|
|
||||||
|
|
||||||
Unlike member shares, which grant democratic voting rights, investment shares generally do not confer voting privileges. This maintains the cooperative principle of democratic member control.
|
|
||||||
|
|
||||||
Provincial legislation may limit the percentage of investment share capital that can be held by non-members. This ensures the cooperative remains primarily owned and controlled by its members. You can allocate a portion of your surplus as dividends on investment shares to provide a financial return to investors.
|
|
||||||
|
|
||||||
[Information Guide on Co-operatives](https://ised-isde.canada.ca/site/cooperatives-canada/en/information-guide-co-operatives) from [Innovation, Science and Economic Development Canada](https://ised-isde.canada.ca/site/ised/en)
|
|
||||||
|
|
||||||
#### Community Bonds
|
|
||||||
Community bonds are a way for community organizations to raise capital from local investors to invest in local issues. They are useful for organizations with a community-centred impact. One prime example of this is the [Center for Social Innovation's Community Bond](https://socialinnovation.org/product-service/community-bond/), which was one of the first community bonds that became notable in the Canadian ecosystem.
|
|
||||||
|
|
||||||
#### Social Impact Bonds
|
|
||||||
Social impact bonds (SIBs) are a type of security where investor returns depend on achieving social impact outcomes. Investors provide upfront capital, and the government is the outcomes payer. If positive changes are demonstrated, the government pays investors a return based on the level of change. SIBs are most suitable for organizations with broad impact and measurable social return.
|
|
||||||
|
|
||||||
#### Revenue Share Loan
|
|
||||||
Revenue share loans are a type of security that's not listed on your books as a traditional loan. Instead, repayment is based on the revenue you generate. Funders that offer this type of financing include Clear Bank, Marigold Capital, and Youth Social Innovation Capital Fund. Revenue share loans may be suitable for organizations projecting stable revenue flow.
|
|
||||||
|
|
||||||
#### Common Shares
|
|
||||||
Common shares represent equity ownership, providing shareholders with voting rights and the potential for dividends. These shares often reflect the company's value, fluctuating with its financial performance. Shareholders benefit from company growth but also bear risks, including potential loss of investment.
|
|
||||||
|
|
||||||
#### Simple Agreement for Future Equity
|
|
||||||
A Simple Agreement for Future Equity (SAFE) is an investment tool for startups that offers future equity in exchange for immediate funding. It's simpler than traditional convertible notes, as it doesn't accrue interest or have a maturity date. Investors receive equity based on the company's future valuation, typically during a funding round.
|
|
||||||
|
|
||||||
#### Options
|
|
||||||
Options are contracts granting the holder the right, but not the obligation, to buy or sell an underlying asset (like stocks) at a specified price before a set expiration date. They're used for hedging risks or speculative investment strategies, often included in employee compensation packages for startups.
|
|
||||||
|
|
||||||
#### Shared-Earnings Agreement
|
|
||||||
Similar to a revenue share loan, a shared-earnings agreement (SEAL) is repaid through revenues. However, the total amount that can be recouped is capped, and payback only triggers once founder salaries have been paid. [Weird Ghosts uses this type of agreement.](https://weirdghosts.ca/blog/how-we-make-investments)
|
|
||||||
|
|
||||||
## The Deal Room
|
|
||||||
|
|
||||||
Get all of your documents ready for the deal room. (You should also create pitch materials that cater to different situations that you may encounter during the capital raising process.)
|
|
||||||
|
|
||||||
A deal room is just a collection of documents that are associated with your offering. It could be a virtual folder on a platform like Google Drive, Proton Drive, Dropbox, or your own secure website.
|
|
||||||
|
|
||||||
The deal room typically includes:
|
|
||||||
|
|
||||||
::list
|
|
||||||
- Your pitch deck
|
|
||||||
- Financial history
|
|
||||||
- Financial model
|
|
||||||
- Team bios and resumes
|
|
||||||
- Competitive analysis
|
|
||||||
- Business plan
|
|
||||||
- Impact model
|
|
||||||
- Testimonials, reviews, and press releases
|
|
||||||
::
|
|
||||||
|
|
||||||
Keep your deal room organized with clear subfolders and document titles. It is good practice to include the document title on each page (in a header or footer). Imagine an investor printing it out!
|
|
||||||
|
|
||||||
## Pitching
|
|
||||||
|
|
||||||
So! Your deal room is ready, and you are keen to approach investors. But how do you create the perfect pitch? Sadly, even with all the templates and tips out there, no formula for guaranteed success exists. The style and content of your pitch will depend on your studio, impact model, and even your personality.
|
|
||||||
|
|
||||||
Something to think about: A pitch is more than just a presentation—it's a dialogue. Open a conversation, and don't get defensive about your studio. If it feels like an investor is pushing your buttons, remember that any critique is *valuable and constructive*.
|
|
||||||
|
|
||||||
### Types of pitches
|
|
||||||
|
|
||||||
You'll find yourself pitching in many different situations. There's the elevator pitch, the platform pitch, the quick pitch, the investor pitch, your leave behind, the community pitch, the demo pitch, the conference pitch, and more.
|
|
||||||
|
|
||||||
Be prepared to present your studio in different time slots. Have various pitch variations ready in case an investor has either five minutes or an hour to hear you out.
|
|
||||||
|
|
||||||
We won't dig too deep into what slides you should include—online resources are abundant:
|
|
||||||
|
|
||||||
- [Glitch's Video Game Pitch Decks](https://heyglitch.notion.site/Pitch-Decks-f56e38c13fe6417f8379859e74367e1a)
|
|
||||||
- [Rami Ismail's Pitch Template](https://ltpf.ramiismail.com/pitch-template/)
|
|
||||||
|
|
||||||
## Investor Strategy
|
|
||||||
|
|
||||||
You're finally here. You're ready to talk to investors. 🙌🏻
|
|
||||||
|
|
||||||
In this section, we'll cover getting ready, finding investors, and tracking leads.
|
|
||||||
|
|
||||||
### First Steps
|
|
||||||
|
|
||||||
Start getting ready for your capital raise at least **six to nine months prior to the actual need for funds**.
|
|
||||||
|
|
||||||
#### Are You Ready?
|
|
||||||
|
|
||||||
The first step is to psychologically prepare for this process. It can be deflating to face rejection, and that is more than likely what you will face for *months to years* as you pursue funding. Protecting your mental health is more important than anything.
|
|
||||||
|
|
||||||
One strategy is to remember that **"No"s are valuable opportunities** to refine and tune your offering. They are not judgments on whether your studio is a good business (or if your game is worth making), but reflections on the state of the funder and their own evaluation framework. That's it!
|
|
||||||
|
|
||||||
Another difficult but useful tactic is **decoupling your sense of personal value** from what you're pitching. This will help you separate inevitable rejections from your sense of self.
|
|
||||||
|
|
||||||
**Ensure you have a support system in place:** A therapist if affordable, family if feasible, friends outside the industry, peers such as other studio founders, advisors, and industry mentors. Don't go it alone. Consider an approach where investment decisions are made collectively by all members of the studio.
|
|
||||||
|
|
||||||
Finally—and this may seem sort of sad—**prepare for the worst.** While you're optimistic about securing funding, you need a backup plan in case things don't go as planned. Think about what you'll do if you're unsuccessful within three months, six months, one year, or two years. Will you pivot your strategy, close the studio, or put it on hold and return to your career? Being clear-eyed about these worst-case scenarios will help you make informed decisions and stay in control of your studio's future.
|
|
||||||
|
|
||||||
So… are you ready? And how would you know if you were? 🤔 Here's a rundown of things you should ***know*** before you go after your first investor.
|
|
||||||
|
|
||||||
#### Is Your Studio Ready?
|
|
||||||
|
|
||||||
**Is the business set up?**
|
|
||||||
- Have you incorporated your cooperative?
|
|
||||||
- Do you need to register in additional jurisdictions?
|
|
||||||
- Do you have a [business plan](/articles/business-planning)?
|
|
||||||
- Does the studio have its own bank account?
|
|
||||||
|
|
||||||
**Is your game ready?**
|
|
||||||
- Do you have a working demo?
|
|
||||||
- What is its initial feature set/scope?
|
|
||||||
- Do you have a roadmap or project plan?
|
|
||||||
- How does this initial game contribute to your studio's overall strategy?
|
|
||||||
|
|
||||||
**What's your marketing approach?**
|
|
||||||
- Who is your target player?
|
|
||||||
- How do you plan to reach them?
|
|
||||||
- How does a customer's life cycle change over time?
|
|
||||||
- What are the potential player segments to explore?
|
|
||||||
- Do you have a reliable player feedback loop?
|
|
||||||
|
|
||||||
**Have you achieved traction/validation?**
|
|
||||||
*e.g., feedback from playtesting or beta/pre-early access, attention on announcements*
|
|
||||||
- How are you measuring traction?
|
|
||||||
- What traction have you achieved to date?
|
|
||||||
- How can publishers amplify your traction?
|
|
||||||
- How will your current traction translate into long-term growth?
|
|
||||||
|
|
||||||
**How will you position your game in an oversaturated market?**
|
|
||||||
- What is your target market/audience? Why does it appeal to them?
|
|
||||||
- How will you reach your target market initially?
|
|
||||||
- How can your game fit into a publisher's marketing strategy?
|
|
||||||
- How can your game work with a platform's distribution strategy?
|
|
||||||
- How will you gain and protect your market position?
|
|
||||||
- How is your game different from others in your target market?
|
|
||||||
|
|
||||||
#### Is Your Team Ready?
|
|
||||||
|
|
||||||
**Do you have the right team?**
|
|
||||||
- Are all members' or founders' values aligned?
|
|
||||||
- Do you trust each other and work well together? Have you collaborated before?
|
|
||||||
- Does anyone on your team have prior experience with raising money or shipping games?
|
|
||||||
- Will you hire contractors, or is that counter to your collectivist values?
|
|
||||||
- Have any team members garnered critical acclaim?
|
|
||||||
- Do you have a producer to help with the publishing process?
|
|
||||||
- Do your collective skills cover creative, technical, and business areas?
|
|
||||||
|
|
||||||
**What is your planned governance strategy?**
|
|
||||||
- What is the appropriate governance structure for your company?
|
|
||||||
- How will you incorporate diversity, equity, and inclusion from the ground up?
|
|
||||||
- How will you ensure your values are incorporated into operations?
|
|
||||||
- How do you plan to adapt your company's culture and structure as your team and company scale?
|
|
||||||
- How do you plan to compensate members?
|
|
||||||
|
|
||||||
**What impact does your team hope to achieve?**
|
|
||||||
- What motivated your founding team to start this studio/produce this game?
|
|
||||||
- How do you [measure impact](/articles/results-flow)?
|
|
||||||
- What impact have you achieved to date?
|
|
||||||
- How do you hope that your customers and community will respond to/contribute to your impact goals?
|
|
||||||
|
|
||||||
#### Are Your Financials Ready?
|
|
||||||
|
|
||||||
**How much money do you need?**
|
|
||||||
- What is your target fundraising amount?
|
|
||||||
- How will the funding be applied to your milestones?
|
|
||||||
- How will you return value to your community, members, and/or investors?
|
|
||||||
|
|
||||||
### Networking
|
|
||||||
|
|
||||||
The bad news is that finding investors takes work and is not an equitable or accessible process. Warm leads (connections to people who know about you through their network) are the standard way to approach money people—but if you don't already have those established networks within the industry, what can you do?
|
|
||||||
|
|
||||||
Lots of indies hate hearing this, but you're going to have to network. There are all sorts of virtual investor events, community events, and industry events (local and international) where you can meet potential investors. (These events are not *just* for catching up with friends, although that is a lovely perk!) You may need to step outside your comfort zone and practice new skills to create and nurture business relationships.
|
|
||||||
|
|
||||||
This means:
|
|
||||||
- Researching and approaching people you don't know
|
|
||||||
- Asking acquaintances or second- and third-degree LinkedIn connections for introductions
|
|
||||||
- Getting involved in industry associations (e.g., Interactive Ontario, New Media Manitoba, DigiBC) and getting to know its board members, advisors, coaches, and members
|
|
||||||
- Working on your conversational and soft-pitching skills
|
|
||||||
- Being diligent about follow-ups and using the right channels (email, phone, Discord)
|
|
||||||
- Listening and responding when investors tell you what they're looking for
|
|
||||||
|
|
||||||
> **Share the wealth:** Being open and generous with your connections is a way to break the cycle where only those already connected or privileged enough to have such networks can easily find investment.
|
|
||||||
|
|
||||||
### Researching
|
|
||||||
|
|
||||||
Once you have an idea of what type of investor you are looking for and where to find them, you can start your search online using Google, LinkedIn, Twitter, and any other social or professional platforms you're on.
|
|
||||||
|
|
||||||
Use these tools to identify the investor's investment history and get a sense of their preferences. Ask people in your network about their history and relationship to gauge their track record and the types of investments they are more likely to consider.
|
|
||||||
|
|
||||||
You can also look into an individual investor's personal and professional interests, recent events they attended or spoke at, and their relationships with others. You can find this information on LinkedIn or through pictures to identify them if you meet them in person. While it may seem a bit intrusive, you want to gather as much information as possible about the investor before meeting them to make a good impression and tailor your pitch to their interests.
|
|
||||||
|
|
||||||
### Tracking
|
|
||||||
|
|
||||||
**Stay organized.** Implement a system to keep track of who, what, when, where, how much, stage, last interaction, likes, connections, and other relevant information. You can use a dedicated CRM like Pipedrive or HubSpot, an Airtable base, or even a Google Sheet.
|
|
||||||
|
|
||||||
**Tailor your materials** to the investor you are meeting. Make slight alterations to your deck based on who you're talking to. Add the investor's logo to the first slide of your deck to show that you have tailored your presentation to them.
|
|
||||||
|
|
||||||
**Arrive over-prepared.** On the day of your pitch, come with your deck ready in USB form, on your computer, in your email, in a link you've shared with the investor, and in a hard copy if your pitch is in-person. Bring something to write with, and be early. These are table stakes.
|
|
||||||
|
|
||||||
**Decide how you plan to frame the conversation**, whether it is an introductory chat or a formal pitch, and who will lead it. How do you want to end it? Is it with a specific ask?
|
|
||||||
|
|
||||||
**Follow up immediately.** Be gracious and succinct in your email, and state your next steps. Keep the to-dos on your end.
|
|
||||||
|
|
||||||
**Update your tracking system!** After you walk away or click End Meeting on Zoom, note down everything you can remember about this person. Articulate what milestones you need to trigger that next meeting with them.
|
|
||||||
|
|
||||||
In your CRM, you can set a reminder for the timing of your next follow-up.
|
|
||||||
|
|
||||||
### What to Expect
|
|
||||||
|
|
||||||
- The goal of your first meeting is really to get them to like you and want to meet with you again.
|
|
||||||
- The second meeting is when you'll get through that official pitch.
|
|
||||||
- Then, the third meeting is when you really dive into the details.
|
|
||||||
|
|
||||||
This process requires nurturing and many meetings over months or even a year, depending on the funder.
|
|
||||||
|
|
||||||
|
|
||||||
We covered a *lot* of ground, and you may be feeling overwhelmed or nervous. Remember, this is a long-term process, and you don't have to do it all at once (or all alone!). Take your time, [reach out to us](mailto:hello@babyghosts.fund) for support, and remember the values and principles you're buiding on as you navigate capitalism as a cooperative.
|
|
||||||
|
|
||||||
- - -
|
|
||||||
|
|
||||||
*With thanks to SVX and Adaora Ogbue for the inspiration for portions of this section.*
|
|
||||||
|
|
@ -1,143 +0,0 @@
|
||||||
---
|
|
||||||
title: Game Discovery Toolkit
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.227Z'
|
|
||||||
---
|
|
||||||
# Summary: The Complete Game Discovery Toolkit
|
|
||||||
|
|
||||||
_[Here](https://newsletter.gamediscover.co/p/in-depth-a-discovery-playbook-for) is a recent newsletter from GameDiscoverCo. updating some of the below!_
|
|
||||||
|
|
||||||
This e-book comes with a Plus subscription to the [GameDiscoverCo Plus newsletter](https://newsletter.gamediscover.co), which we highly recommend. These are just my notes on the high points of the book!
|
|
||||||
|
|
||||||
### Pre-release priorities
|
|
||||||
|
|
||||||
#### Initial Steam page launch
|
|
||||||
|
|
||||||
When you're planning on launching games on Steam, here are the most important steps you need to take for a successful initial Steam page launch:
|
|
||||||
|
|
||||||
- always try to include a gameplay video
|
|
||||||
- majority of screenshots should be of in-game assets
|
|
||||||
- push your Discord server in an obvious place on the page
|
|
||||||
- make sure your Steam tags are in place and are subgenre-specific enough
|
|
||||||
- put gameplay GIFs in your description
|
|
||||||
- use the 'capsule' description to clearly explain what you do in the game (including genre/subgenre!)
|
|
||||||
- ideally, you should have the Steam page up 6 months before the game’s release at absolute minimum, and 12-18 months is even better for accumulating wishlists
|
|
||||||
- focus on the growth of follows/wishlists
|
|
||||||
- remember that wishlist spikes don't always map to sales
|
|
||||||
|
|
||||||
#### High priority tasks
|
|
||||||
|
|
||||||
- organic streamer outreach
|
|
||||||
- creating video trailers (aim for 3 per cycle: launch, release date announce, and release. Two can be similar, and include as much gameplay as possible)
|
|
||||||
- managing your Discord server/community interaction on Steam (including regular dev updates!)
|
|
||||||
|
|
||||||
#### Medium priority tasks
|
|
||||||
|
|
||||||
- press/media outreach
|
|
||||||
- getting featured in Steam pre-release sales
|
|
||||||
- maintaining active social media accounts (TikTok, Reddit, and Imgur are highest priority, but don't forget Twitter)
|
|
||||||
- creating a demo for Steam festival or for long-term posting
|
|
||||||
- conducting basic marketing tracking
|
|
||||||
- considering paid ads or streamer inclusions for ‘visibility’ during launch
|
|
||||||
|
|
||||||
#### Low priority tasks
|
|
||||||
|
|
||||||
- attending physical events
|
|
||||||
- creating physical paid merch
|
|
||||||
- running paid ads for wishlist acquisition (unless it's a high-priced game)
|
|
||||||
- submitting to Steam curators
|
|
||||||
- implementing detailed marketing tracking
|
|
||||||
- maintaining lower-priority social media (like Facebook)
|
|
||||||
|
|
||||||
To improve your game's success on launch, you need to find the fans of your game, care for them, and nurture them as you develop it.
|
|
||||||
|
|
||||||
## Post-release strategies
|
|
||||||
|
|
||||||
Much is set after the game's launch - it's hard to turn around ratings and general level of interest after the first 2-4 weeks. But here's what you can do:
|
|
||||||
|
|
||||||
- rely on word of mouth over time - if it's a great game, people will talk
|
|
||||||
- be smart about taking advantage of sales and discounts
|
|
||||||
- have a regular update structure to the game if you can
|
|
||||||
|
|
||||||
### Marketing beats
|
|
||||||
|
|
||||||
These are the key moments in your game's lifecycle that you should capitalize on:
|
|
||||||
|
|
||||||
1. Initial announcement - 6-24 months before release - as early as possible
|
|
||||||
- press release
|
|
||||||
- trailer with gameplay
|
|
||||||
- Steam page
|
|
||||||
2. Steam NextFest Demo/Appearance - 3-9 months before release
|
|
||||||
3. Release date announcement - 4-8 weeks before release
|
|
||||||
- new visuals
|
|
||||||
- fresh trailer
|
|
||||||
4. Game release
|
|
||||||
- "Available now" announcement
|
|
||||||
- new trailer
|
|
||||||
- streamer, press, and social blast with as many review keys as possible
|
|
||||||
5. Post-release beats
|
|
||||||
- updates and DLC
|
|
||||||
|
|
||||||
Paid DLC can be a great way to increase the value of the long tail. Don't count on base game buyers to come back for DLC, but first-time buyers might get the bundle. The earlier DLC is launched the better - it can be marketed on the game's title screen and alongside sale discounts.
|
|
||||||
|
|
||||||
### Pricing
|
|
||||||
|
|
||||||
Games should be priced at least $20 or 18 EUR. You should price regionally and tactically (for example, the price needs to be lower in China and Russia). True fans are less price sensitive - your job is to accumulate these. Price is not a driver - people buy games because they fulfill a need, not because they're cheap. You won't sell more copies at a lower price point, and a higher price can equal higher perceived quality. The exceptions to these rules are very short games, hobby games, 2D puzzle games, and DLC-driven games.
|
|
||||||
|
|
||||||
### Maintaining the long tail
|
|
||||||
|
|
||||||
1. Make a game that meets and manages the expectations of the people who are planning to buy and play it. Promote a clear pre-release understanding and execute on it.
|
|
||||||
2. High review scores correlate to higher sales on Steam.
|
|
||||||
- Good word of mouth leads to better reviews.
|
|
||||||
- High review scores on the Steam page motivates buyers.
|
|
||||||
3. Make a streamable game.
|
|
||||||
- Open the door to user-generated content and player creativity. The majority of games that do well in the long term allow new content.
|
|
||||||
- Retain players (for replayable, updatable games) through updates, DLC, social-centric gameplay, and discourse.
|
|
||||||
- Put your game on sale to turn wishlists into sales - be methodical about discount timings and amounts.
|
|
||||||
|
|
||||||
## Post-release discount strategies
|
|
||||||
|
|
||||||
Most devs don't strategically discount, but discounts can be a big post-launch driver.
|
|
||||||
|
|
||||||
1. Frequency: Discount at every available opportunity. Find sales through Steam, and platform reps.
|
|
||||||
2. Amount: Gradually increase discounts. For example, Overcooked introduced discounts down to 50% over 2 years.
|
|
||||||
3. Aggressiveness: You can potentially make more cash with aggressive discounts.
|
|
||||||
|
|
||||||
### Steam tags - best and worst genres
|
|
||||||
|
|
||||||
Ranked from best median sales to worst: 4X, roguelike deckbuilder, city builder, political sim, RTS, management, online co-op, tactical RPG, Metroidvania, turn-based strategy, dating sim, roguelike, farming sim, hack and slash, JRPG, psychological horror, dungeon crawler, visual novel, point and click, action RPG, beat 'em up, walking simulator, FPS, survival horror, rhythm, interactive fiction, tower defense, side-scroller, platformer, puzzle platformer.
|
|
||||||
|
|
||||||
## Discovery
|
|
||||||
|
|
||||||
Expect to make 2x to 5x your first week sales in the first year.
|
|
||||||
|
|
||||||
In terms of wishlists to sales expectations, the median is 0.2 sales per wishlist in the first week on Steam (0.36 average).
|
|
||||||
|
|
||||||
Buzz outside Steam counts for a lot. Titles that launched with over 10,000 wishlists but low recognition (1 out of 10) converted at a tenth of those with high recognition (8 out of 10). Press, streamers, and vibrant communities are important.
|
|
||||||
|
|
||||||
### Steam's week 1 to year 1, 2, 3 revenue
|
|
||||||
|
|
||||||
- Average multiple for Month 1: 1.57x
|
|
||||||
- Average multiple for Year 1: 4.52x
|
|
||||||
|
|
||||||
- Median multiple for Month 1: 1.47x
|
|
||||||
- Median multiple for Year 1: 4x
|
|
||||||
|
|
||||||
### Steam's reviews to sales ratio
|
|
||||||
|
|
||||||
Using the New Boxleiter method, the average number of sales per review is 63, with a median of 58. The non-outlier range is 20 to 60 sales per review for new games launched after 2020. (note: [here's an online tool](https://steam-revenue-calculator.com) for estimating Steam sales based on reviews using the Boxleiter method)
|
|
||||||
|
|
||||||
### Steam's net revenue compared to gross
|
|
||||||
|
|
||||||
Determining revenue involves factoring in the average "regular" price, how often it was on sale and by how much, the Steam platform cut, refunds, and VAT. Realistically, this is 30-50% of the optimistic gross number.
|
|
||||||
|
|
||||||
#### Refunds
|
|
||||||
|
|
||||||
Why might your refund rate be high?
|
|
||||||
|
|
||||||
1. The game doesn't make a good initial impression. You can do something about this!
|
|
||||||
2. The country mix you are selling into: China refund
|
|
||||||
|
|
@ -1,298 +0,0 @@
|
||||||
---
|
|
||||||
title: Impact Measurement
|
|
||||||
description: >-
|
|
||||||
A step-by-step guide to creating an impact measurement framework for your
|
|
||||||
indie game studio.
|
|
||||||
category: impact
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.627Z'
|
|
||||||
---
|
|
||||||
# Developing your impact measurement framework
|
|
||||||
|
|
||||||
## Measuring and Managing Your Impact
|
|
||||||
|
|
||||||
Gauging success in a traditional, profit-centric business can be done easily using established and readily understood financial measures. Impact performance is more difficult to identify and quantify. How do you track changes in attitude, knowledge, and behaviour? Collecting and assessing this data requires a structured approach. You need an **impact measurement framework** (IMF)!
|
|
||||||
|
|
||||||
An IMF puts your results flow _theory_ to the test. It answers the questions: How achievable are our outcomes? Does our timeline make sense? Are our strategies working? And lets you adjust your activities as you go to focus on what gets you closer to your goals.
|
|
||||||
|
|
||||||
It's also a really handy resource for developing your business plan, setting your roadmap, and determining more challenging future targets.
|
|
||||||
|
|
||||||
We've previously covered [setting goals, defining impact, and creating a results flow](/articles/results-flow), and now we are learning how to make a plan to achieve our desired outcomes and measure our progress toward them. We are **layering tools on top of each other** to create a framework for turning our dreams into measurable impact.
|
|
||||||
|
|
||||||
Together, these tools will make it possible and easier for you to:
|
|
||||||
|
|
||||||
- Pitch for social finance (and traditional) investment
|
|
||||||
- Align your activities with your goals
|
|
||||||
|
|
||||||
We will walk you through the elements of an IMF, dig into how to create and evaluate indicators and get you started on designing a custom framework in this article. Let's get to it!
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
## Why use an IMF?
|
|
||||||
|
|
||||||
Can you get away with not having an IMF? Sure – pretty much every indie studio does. But they're not deliberately working towards positive social impact like you are. There are three core reasons you should invest in creating and maintaining an IMF if you are impact-focused:
|
|
||||||
|
|
||||||
### Accountability
|
|
||||||
|
|
||||||
Your **funders** – especially social finance investors – will expect tracking and reporting. Your **stakeholders** (employees, workers, community of players/supporters) expect you to operate and create games that reflect your stated values and goals. Your IMF allows you to identify, assess, and involve these stakeholders.
|
|
||||||
|
|
||||||
Resistance to this is understandable! Isn't this just a capitalist, colonial tool for assigning value? It can be, but you can use it as a tool for yourself and your community instead. This is great to acknowledge and critique as you are developing your IMF. Be _explicit about who is centred in your work_ – it will help you align with the right investors whose priorities are the same as yours. Think about who your stakeholders are. You need to measure different things depending on who they are and what they need. What is important to them?
|
|
||||||
|
|
||||||
### Building on your results flow
|
|
||||||
|
|
||||||
The results flow identified the impact you want to have in the world and the activities you need to do to achieve that change. But it's a fairly general tool. Each outcome describes whom you wish to impact and what outcome you hope for. But how do you move from wishes and dreams to making all this happen?
|
|
||||||
|
|
||||||
You need to build accountability into your plans. **Accountability leads to a deeper analysis of what you are doing to make change**, and how your activities actually lead to the changes you expect. Your results flow forms the basis of this accountability.
|
|
||||||
|
|
||||||
### Evidence
|
|
||||||
|
|
||||||
An IMF allows you to gather evidence that tells you if you are living up to your intentions at any moment – so you can determine if the work you are doing, the audience you are serving, and the games you are designing truly put you on the path to fulfilling your mission. This evidence allows you to see what you're doing that has a positive impact, and what is ineffective or harmful.
|
|
||||||
|
|
||||||
### Improved activities
|
|
||||||
|
|
||||||
This evidence makes it possible to assess **how effective** specific strategies are at helping you meet your goals so you can adjust your activities, seek new resources, and better define your expected outputs. It allows you to **refine the design** of your games and make decisions that directly support your studio's ultimate outcome.
|
|
||||||
|
|
||||||
### Why not use an existing tool?
|
|
||||||
|
|
||||||
While there are out-of-the-box applications out there ([Sopact](https://www.sopact.com), [B Impact Assessment](https://www.bcorporation.net/en-us/programs-and-tools/b-impact-assessment/), [Unit of Impact](https://unitofimpact.com), [Cigarbox](https://www.cigarbox.nl), [CSI Impact Dashboard](https://impactdashboard.org)), there's no universal standard framework or set of metrics for social impact. Systems such as [IRIS+](https://iris.thegiin.org(https://iris.thegiin.org/) (which provides a taxonomy of standardized definitions) can be used for inspiration but can be overwhelming and hard to implement for a small studio. We're going to go the custom route instead.
|
|
||||||
|
|
||||||
We believe your framework – just like your outcomes – should be carefully designed around your needs and desired outcomes, and heavily informed by the full spectrum of your stakeholders and community (_including your employees!_).
|
|
||||||
|
|
||||||
|
|
||||||
## Understanding the IMF
|
|
||||||
|
|
||||||
What exactly does an IMF look like? They take many forms, especially web-based applications like those mentioned above. We will look at a spreadsheet version and an Airtable version today, but you can use any set of tools and technology that is comfortable for you. The main thing is to define your elements carefully and collect data in a structured, sustainable way.
|
|
||||||
|
|
||||||
At a glance, your IMF will show:
|
|
||||||
|
|
||||||
1. Progress towards change and impact in measurable terms
|
|
||||||
2. Documentation of that change
|
|
||||||
|
|
||||||
Here is what (a portion) of two real IMFs looks like:
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
When designing your framework, the goal is to:
|
|
||||||
|
|
||||||
- **Identify the right indicators to measure your outcomes**: What change are you measuring?
|
|
||||||
- **Describe a plan for how to collect data**: What are your measurement tools? Who collects data, and how often? What is automated?
|
|
||||||
|
|
||||||
### Elements
|
|
||||||
|
|
||||||
Here's a quick overview of the core elements of an IMF:
|
|
||||||
|
|
||||||
| Element | Description | Example |
|
|
||||||
| ------------------------- | -------------------------------------------------------------------------------------------------------------------- | ------------------------------------------------------------------------------------------- |
|
|
||||||
| **Outcomes** | The goals you have committed to being accountable for - copied straight over from your results flow. | Employees feel critically engaged with the collective creation of games within the company. |
|
|
||||||
| **Indicators** | Descriptions of changes, specifying exactly what is to be measured. | Percentage of employees who make meaningful contributions to the design process. |
|
|
||||||
| **Responsibility** | Simply, who will collect the data? | Chief operating officer |
|
|
||||||
| **Frequency** | How often you will collect the data. | Monthly |
|
|
||||||
| **Data sources and tool** | Where will you get the data, and how will you collect it? | Observation of studio employees |
|
|
||||||
| **Baseline** | What your numbers look like at the beginning – of your studio, a new project, or whenever you start collecting data. | 50% |
|
|
||||||
| **Target** | The desired situation, expressed in terms of the indicator. | 100% |
|
|
||||||
|
|
||||||
## Building Your Own IMF
|
|
||||||
|
|
||||||
Before getting into more detail about each of the above elements, let's set you up with a template so you can start roughing your information.
|
|
||||||
|
|
||||||
If you want to use a spreadsheet, you can access our template here: [Impact Measurement Framework - Blank Template](https://docs.google.com/spreadsheets/d/1zHDdHi7EuYCVdHw_1LINMF5Ty9n1bu-XEQxn1Z5chnk/edit##gid=293015620) (Google Sheets). Select "Make a copy" in the File menu to save a version to your Google Drive. If you prefer Numbers or Excel, you can download your copy and import/open it in one of those applications.
|
|
||||||
|
|
||||||
At Weird Ghosts, we use [Airtable](https://airtable.com) to manage our IMF. Airtable is similar to a spreadsheet application but works more like a database and includes powerful features like data modeling, automations, and custom views and interfaces. You can use our template here: [Impact Measurement Framework](https://www.airtable.com/universe/expFQ8hvE8mapTVot/impact-measurement-framework?_gl=1%2A1gkbibu%2A_ga%2AMjAwMDc5MjY0Mi4xNjg4MTUwNjQw%2A_ga_HF9VV0C1X2%2AMTY4OTg3NDQ3My42LjEuMTY4OTg3NDU2Ni4wLjAuMA..). Click "Use template" at the top, or for a sneak peek first, click "Explore the base" then "Copy base" in the bottom left corner.
|
|
||||||
|
|
||||||
Let's start adding some info!
|
|
||||||
|
|
||||||
### Outcomes
|
|
||||||
|
|
||||||
The first thing you'll want to do is populate your template with the outcomes you've identified as those you're ready to be held accountable for. We suggest looking through the outcomes in your [results flow](/articles/results-flow) and selecting one or two per timeframe (short-, medium-, long-term). Just copy them over into the appropriate spot. (In the Airtable template, add them in the Outcomes table.)
|
|
||||||
|
|
||||||
### Indicators
|
|
||||||
|
|
||||||
Indicators are next. You'll be spending some time brainstorming, refining, and reviewing these, but you can start by jotting down ideas that seem doable in the near future. Let's get into more detail about what makes an effective indicator.
|
|
||||||
|
|
||||||
Aim to identify two or three indicators per outcome, with a mix of qualitative and quantitative indicators, to get a wide view. Remember, an indicator is a neutral **measure** (quantitative) or **descriptor** (qualitative) of a change. It specifies the value to be measured to track the expected change. They allow you to understand _how well_ you are moving toward change or where you are on the "thermometer." It describes _progress_.
|
|
||||||
|
|
||||||
| **Quantitative** | **Qualitative** |
|
|
||||||
| ------------------------------------------------------------------------------------------------------------------- | ----------------------------------------------------------------------------------------------------- |
|
|
||||||
| Statistical measures | Perception, opinion, or quality |
|
|
||||||
| Number, frequency, percentile, ratio, variance | Stories, presence/absence of certain conditions, quality of participation, level of user satisfaction |
|
|
||||||
| e.g.: _Percentage of core funders with an adequate internal action plan for addressing the diversity of applicants_ | e.g., _Average value of the sense of relevance to users' lives_ |
|
|
||||||
|
|
||||||
Indicators can come from internal or external sources – e.g., data collected through your game, user surveys, and community engagement, such as Discord or Twitter. You don't have to focus on traditional marketing metrics like clicks, likes, predatory interactions and addiction-based mechanics.
|
|
||||||
|
|
||||||
Privacy and consent are essential considerations in all these methods. Remember to consider what is _ethical_ and _legal_ when collecting data from your users. Always be transparent about what data you're collecting and why, and give users the option to opt-out.
|
|
||||||
|
|
||||||
In addition, different types of games may require different data collection approaches: a mobile game might collect different data than a console game, and a single-player game will have different considerations than a multiplayer game.
|
|
||||||
|
|
||||||
#### Evaluating your indicators
|
|
||||||
|
|
||||||
As you draft some indicators, evaluate them based on the following questions.
|
|
||||||
|
|
||||||
- **Validity**: Does the indicator actually measure progress toward the expected result?
|
|
||||||
- **Reliability**: Will the data be consistent over time and readily available?
|
|
||||||
- **Sensitivity**: When the result changes, will the indicator also change accordingly?
|
|
||||||
- **Simplicity**: How easy will it be to collect the data?
|
|
||||||
- **Utility**: Will the information collected be useful for your programming and decision-making?
|
|
||||||
- **Affordability**: Do we as a studio (along with partners) have the resources to collect the data?
|
|
||||||
|
|
||||||
We also recommend you use the [SMART goals framework](https://asana.com/resources/smart-goals) to test them:
|
|
||||||
|
|
||||||
- **Specific** - narrow and accurately describes what will be measured.
|
|
||||||
- **Measurable** - can be counted and observed the same way every time.
|
|
||||||
- **Attainable** - achievable and affordable.
|
|
||||||
- **Relevant** - aligned with your ultimate outcome.
|
|
||||||
- **Time-bound** - attached to a timeframe.
|
|
||||||
|
|
||||||
Ask yourself:
|
|
||||||
|
|
||||||
1. Does this indicator directly measure the outcome?
|
|
||||||
2. How easy is it to collect this indicator?
|
|
||||||
3. When the outcome changes, will the indicator change as well?
|
|
||||||
|
|
||||||
Spend time brainstorming, editing, and sharing your indicators with your team. Focus on the outcomes you said you'd hold yourself accountable for achieving – not your whole results flow.
|
|
||||||
|
|
||||||
A good indicator **makes it easy to know at a glance that changes have occurred**.
|
|
||||||
|
|
||||||
#### Examples
|
|
||||||
|
|
||||||
Here are several short-term outcome–related indicators for a fictional game studio whose ultimate outcome is "People feel connected to their devices in a way that supports their health and wellbeing":
|
|
||||||
|
|
||||||
| Outcome | Indicators |
|
|
||||||
| ------------------------------------------------------------------------------------------ | ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
|
|
||||||
| Coworkers feel critically engaged with the collective creation of games within the company | - Percentage of coworkers who actively contribute to the design process<br>- Employee sentiment around their involvement in collaborative game creation processes |
|
|
||||||
| Players are aware of apps that encourage and allow healthy interactions with their phone | - Percentage of self-described gamers in the sample who can name at least one app that promotes healthy phone interaction<br>- Frequency of health-focused apps being featured in popular app storefronts<br>- Volume and tone of media coverage of apps that encourage healthy phone interaction |
|
|
||||||
|
|
||||||
Here are some for a studio whose ultimate outcome is "LGBTQIA+ identities are understood and accepted in games, mirroring a society that celebrates diversity and inclusion":
|
|
||||||
|
|
||||||
| Outcome | Indicators |
|
|
||||||
| ------------------------------------------------------------------------ | ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- |
|
|
||||||
| Players gain exposure to diverse characters and narratives | - Percentage of players who can recall diverse characters and narratives in the game<br>- The number of diverse characters and narratives represented in the game |
|
|
||||||
| Community members feel safe and accepted, fostering a sense of belonging | - Percentage of community members expressing a sense of safety and belonging<br>- Number of reports of harassment or toxic behaviour<br>- Frequency and quality of positive interactions in community spaces (forums, social media, etc.) |
|
|
||||||
|
|
||||||
Here are some more ideas about what you could measure based on the topic area of your outcomes:
|
|
||||||
|
|
||||||
**Player experience and satisfaction:**
|
|
||||||
- Average user-reported satisfaction score.
|
|
||||||
- Ratio of positive to negative feedback.
|
|
||||||
- Trend in sentiment scores from feedback, reviews, and social media.
|
|
||||||
|
|
||||||
**Community engagement and health:**
|
|
||||||
|
|
||||||
- Total active community members.
|
|
||||||
- Average engagement in community activities (Discord messages, event participation, newsletter opens).
|
|
||||||
- Measures of community cohesion versus toxicity.
|
|
||||||
|
|
||||||
**Inclusivity and diversity:**
|
|
||||||
|
|
||||||
- Average inclusivity rating from user feedback.
|
|
||||||
- Diversity of user base demographics.
|
|
||||||
|
|
||||||
**Environmental and sustainability impact:**
|
|
||||||
|
|
||||||
- Total energy consumption (servers and game usage).
|
|
||||||
- Amount of waste from physical game production.
|
|
||||||
- Impact of environmental offset actions.
|
|
||||||
|
|
||||||
**Access:**
|
|
||||||
|
|
||||||
- Proportion of players requiring accessibility features.
|
|
||||||
- Number of scholarships or grants for underrepresented developers.
|
|
||||||
|
|
||||||
**Revenue and financial metrics:**
|
|
||||||
|
|
||||||
- Total revenue, in-app purchase income, subscription income.
|
|
||||||
- Total costs (development, marketing, support, server maintenance).
|
|
||||||
- Profit margin and return on investment.
|
|
||||||
|
|
||||||
**Gameplay metrics:**
|
|
||||||
|
|
||||||
- Total, daily, and monthly active users.
|
|
||||||
- Average session length and frequency of play.
|
|
||||||
- Player retention and churn rates.
|
|
||||||
|
|
||||||
### Challenges and limitations
|
|
||||||
|
|
||||||
Be aware of potential problems that may influence the accuracy and reliability of your indicators. Here are some areas to consider:
|
|
||||||
|
|
||||||
#### Bias
|
|
||||||
|
|
||||||
Bias can creep into your measurements. It might be introduced during the data collection process, especially if the data is self-reported by users. Consider methods to mitigate the impact of bias, like random sampling or anonymizing feedback.
|
|
||||||
|
|
||||||
#### Quantifying impact
|
|
||||||
|
|
||||||
Quantifying the impact of your game, particularly in terms of social outcomes, can be challenging. _There's a reason it's not mainstream!_ Metrics like player satisfaction and community engagement can be measured relatively directly. Still, others, such as the influence of your game on players' perspectives or attitudes, can be more difficult to capture.
|
|
||||||
|
|
||||||
Using a variety of qualitative and quantitative measures helps address this, as could using proxy measures. For instance, if you want to track increased empathy in players due to exposure to diverse narratives, you might look at changes in the way players discuss these themes on social media as a proxy.
|
|
||||||
|
|
||||||
#### Poorly articulated outcomes
|
|
||||||
|
|
||||||
Poorly articulated outcomes can lead to indicators that don't accurately track progress or contribute to misunderstanding the impact. When defining outcomes in your results flow, put SMART goals to work!
|
|
||||||
|
|
||||||
## Responsibility
|
|
||||||
|
|
||||||
Who will collect the data or stories? This person is responsible for collecting data for reporting and analysis; it is not the person responsible for achieving the stated targets. Be as specific as possible – a name is best, but a job title, role, or department can work too. When it is time to collate and analyze your data, you need to know whom to go to. And they need to know the full scope of what they need to collect well before deploying tools like surveys.
|
|
||||||
|
|
||||||
|
|
||||||
## Frequency
|
|
||||||
|
|
||||||
How often will you collect the data: monthly, quarterly, semi-annually, or annually? Each indicator warrants a different cadence. It can take time for information to accumulate and for discernible changes to happen, particularly for those medium and long-term outcomes. But don't do it too infrequently, or you will miss opportunities to adapt or course-correct.
|
|
||||||
|
|
||||||
## Data Sources and Tool
|
|
||||||
|
|
||||||
#### Where will you get the data?
|
|
||||||
|
|
||||||
As noted earlier, data sources can be varied. Try to triangulate your sources, such as:
|
|
||||||
|
|
||||||
- **User playtesting/focus groups**: Feedback from users in structured sessions to understand user experience, game mechanics, and narrative effectiveness.
|
|
||||||
- **Anonymous user data**: Data gathered from user interactions with your games for quantitative insights into gameplay mechanics, user preferences, and behavioural patterns.
|
|
||||||
- **Community members**: Online communities related to your games (e.g., forums, Discord servers, social media platforms) tell you about game experience, character engagement, storylines, and community health and engagement.
|
|
||||||
- **Employees**: Experiences and observations of your wonderful team members highlight studio culture, development process, and diversity and inclusion initiatives.
|
|
||||||
- **Platforms**: Sales data, user reviews, and other metadata from Steam, Epic, Apple's App Store, Google Play, Switch, etc., shows you game performance and player engagement.
|
|
||||||
- **Existing databases**: Research databases, industry reports, and demographic data from industry associations such as the [ESA](https://theesa.ca), [Interactive Ontario](https://interactiveontario.com), and [DigiBC](https://www.digibc.org/cpages/home) give you context and comparison points for your indicators.
|
|
||||||
|
|
||||||
#### How will you collect the data?
|
|
||||||
|
|
||||||
The data collection method depends on the nature of the indicator you're tracking and the available data sources. Some examples include:
|
|
||||||
|
|
||||||
- **Monthly automated reports**: Some analytics platforms can generate regular reports providing detailed user activity, in-game events, and monetization statistics.
|
|
||||||
- **Surveys**: Online surveys can gather specific data directly from players or employees and can be designed to gather quantitative data (e.g., ratings) or qualitative data (e.g., open-ended responses).
|
|
||||||
- **Interviews**: Interviews with users, employees, or other stakeholders can provide rich, in-depth qualitative data.
|
|
||||||
- **Focus groups**: Gathering a group of users or other stakeholders for a discussion can provide diverse perspectives on a specific topic or issue.
|
|
||||||
- **Observation**: Behavioural data gathered from user interactions with your game or online communities can provide insights into play patterns, user engagement, and community health.
|
|
||||||
- **Research**: Secondary research (e.g., reviewing industry reports) can provide contextual information, trends, and benchmarks.
|
|
||||||
|
|
||||||
## Baseline and Target
|
|
||||||
|
|
||||||
A baseline and target are needed for each indicator to actually make use of your IMF.
|
|
||||||
|
|
||||||
Your baseline describes the situation at the _beginning_ (e.g. when you start a new project or start collecting data). For example, say you've just launched a new moon journey feature in your app. You start to collect data, and in one week, you have a baseline – 10% of users have found and used that feature.
|
|
||||||
|
|
||||||
Once you have your baseline, you can set a target by stating a value or figure you aim for. Describe the desired situation if the change is realized, in terms of the indicator. It _must_ be realistic given your capacity and resources! Arriving at a doable target will take some trial and error.
|
|
||||||
|
|
||||||
Your target describes the desired situation if the expected change is realized, expressed in terms of the indicator. For example, "90% of users discover and use the moon journey feature in Q2 2021."
|
|
||||||
|
|
||||||
#### Setting targets and collecting data
|
|
||||||
|
|
||||||
Here are a few hot tips for setting your targets and collecting data!
|
|
||||||
|
|
||||||
1. Be kind to yourself: establish **realistic** targets and baselines. They set the direction for your work and form the basis for measuring success. Take into account factors like budget, available time, people-power, and tech resources. Overly ambitious goals will lead to frustration – and setting the bar too low means you never reach your goals or make a real impact. (The opposite of what we're trying to do here!)
|
|
||||||
2. Consider the **cost** associated with collecting and reviewing data, the **time** it takes to gather it, the humans required for these tasks, and the software or technology needed to process and store the information.
|
|
||||||
3. Don't forget about **administrative tasks** like cleaning data to remove inaccuracies or inconsistencies, safely storing data to prevent loss and unauthorized access, and taking steps to protect data to ensure compliance. [Read up on federal and provincial/territorial privacy laws.](https://www.priv.gc.ca/en/privacy-topics/privacy-laws-in-canada/02_05_d_15/)
|
|
||||||
4. **Think strategically** about success and failure. Generally, success means meeting or exceeding your targets. Failure, on the other hand, could mean falling short of these targets _or_ running into negative impacts you didn't think of. But **failure is not a dead-end** – it's an opportunity to learn, adapt, and improve your approach to impact measurement. It's part of your journey with us toward creating a more impactful, inclusive, and sustainable video game ecosystem in Canada. 😀
|
|
||||||
|
|
||||||
|
|
||||||
## Moving forward with your IMF
|
|
||||||
|
|
||||||
Creating an IMF is far from a "set-and-forget" thing; it's a living document with a complex interplay of elements that need to be kept top of mind, tracked, and updated regularly. Your operations will evolve as your studio matures, and so should your IMF. Regular reviews and revisions will keep it responsive and relevant to your goals.
|
|
||||||
|
|
||||||
Transparency is a huge opportunity once you've started measuring your impact. Don't just sweat over numbers behind closed doors – **share your impact**. Report the good, the terrible, and the unexpected – they're all part of your unique story and will resonate with those who care about what you're doing. Like us!
|
|
||||||
|
|
||||||
So, where are you at? Have some indicators you'd like some feedback on? [We'd love to hear about it](mailto:hello@weirdghosts.ca) and help you on your path to impact measurement.
|
|
||||||
|
|
||||||
#### Resources
|
|
||||||
|
|
||||||
- [Airtable IMF template](https://www.airtable.com/universe/expFQ8hvE8mapTVot/impact-measurement-framework?_gl=1%2A1gkbibu%2A_ga%2AMjAwMDc5MjY0Mi4xNjg4MTUwNjQw%2A_ga_HF9VV0C1X2%2AMTY4OTg3NDQ3My42LjEuMTY4OTg3NDU2Ni4wLjAuMA..)
|
|
||||||
- [Google Sheet template](https://docs.google.com/spreadsheets/d/1zHDdHi7EuYCVdHw_1LINMF5Ty9n1bu-XEQxn1Z5chnk/edit##gid=293015620)
|
|
||||||
|
|
@ -1,109 +0,0 @@
|
||||||
---
|
|
||||||
title: Market Analysis
|
|
||||||
description: Market Analysis
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.226Z'
|
|
||||||
---
|
|
||||||
# Market Analysis
|
|
||||||
|
|
||||||
This _very basic_ guide will help you start **benchmarking** your competitors' games and collecting relevant data so you can do a competitive/market analysis for your game. This is how we do it for potential investees at Weird Ghosts!
|
|
||||||
|
|
||||||
## Step 1: Identify competitors
|
|
||||||
|
|
||||||
This might be the hardest part; only you can pick the most relevant games out of the vast ocean of storefronts and platforms. Consider both direct and indirect competitors – those who make games very similar to yours and those competing for your audience (even if the game is quite different). Scour Steam, Epic, Switch, Xbox, Playstation, itch.io, Humble, GoG; ask around Gamma Space; bug your friends; and dig through showcases to come up with a list of 10-20 games that are similar to yours.
|
|
||||||
|
|
||||||
## Step 2: Analyze competitor games
|
|
||||||
|
|
||||||
Now, let's take a closer look and gather some data.
|
|
||||||
|
|
||||||
**Review gameplay:** Purchase or download as many of the games on your list as budget and time allows. Look at the mechanics, the story, the visuals, the sound, everything. Ask yourself: what makes each game stand out? Interesting mechanics? Aesthetics? A unique story or especially good narrative design? What do you like about each game, and what do you dislike?
|
|
||||||
|
|
||||||
**Read reviews:** Reviews are a goldmine. Keep an eye out for the things that come up repeatedly, both 👍 and 👎. Start with [Steam reviews](https://store.steampowered.com/reviews/), but also check out places like [Metacritic](https://www.metacritic.com/) and community Discords.
|
|
||||||
|
|
||||||
**How popular is it?** Use the [Steam Revenue Calculator](https://steam-revenue-calculator.com/) and [SteamDB](https://steamdb.info/) to understand how many copies they've sold and how much money they're making. Is the game doing as well as you thought it would, given its genre and how it looks and feels? Are some types of games doing better than others?
|
|
||||||
|
|
||||||
**What's the community like?** The size of the community and how active they are can tell you a lot about how well a game is doing. Look at their social media (TikTok, Instagram, and Twitter/X) — how many followers do they have, and how engaged are they? Do they have buzz going on in their official Discords or subreddits? A lively community usually means a solid player base, which means the game is probably doing pretty well.
|
|
||||||
|
|
||||||
**Marketing and PR:** How are they selling their game to the public? Are they active on social media or rely more on press releases and news articles? Are they working with influencers or streamers? And look at their trailers and other promotional materials. What's the vibe they're going for, and how does the public react?
|
|
||||||
|
|
||||||
## Step 3: Use tools to gather more data
|
|
||||||
|
|
||||||
Here are some recommended free or inexpensive tools that can help you gather data:
|
|
||||||
|
|
||||||
1. [Steam Hype Chart](https://plus.gamediscover.co/hype/) - This requires a Pro GameDiscoverCo account (well worth it for the data backend as well as the biweekly newsletter) and shows you the most anticipated upcoming games based on community engagement metrics.
|
|
||||||
2. [SteamDB](https://steamdb.info/) - This is a complete database of information about games on Steam. Shows player counts, historical data, graphs, and related information about any game on the platform.
|
|
||||||
3. [Steam Revenue Calculator](https://steam-revenue-calculator.com/) (Boxleiter Method) - This tool provides an estimate of a game's revenue on Steam based on the number of reviews it has received.
|
|
||||||
4. [VideoGameInsights](https://vginsights.com/) - This paid (and excellent) tool provides a wide range of data about games, including top games, trends, demographics, and more.
|
|
||||||
|
|
||||||
## Step 4: Create a competitor analysis spreadsheet
|
|
||||||
|
|
||||||
Organize the data you've collected into a spreadsheet ([template](https://docs.google.com/spreadsheets/d/1fxDBgs-AQl5SHRQwCoxwH53SY1Qjl_MhROwL7z0EpB0/edit#gid=1422843669)).
|
|
||||||
|
|
||||||
This will help you compare your competitors side-by-side and draw conclusions about how your game might fare. Here are the data points you'll need to collect:
|
|
||||||
|
|
||||||
| Field | Description |
|
|
||||||
|---|---|
|
|
||||||
|Title||
|
|
||||||
|Launch Date||
|
|
||||||
|Price|Full, non-sale price from Steam page|
|
|
||||||
|Total Reviews|Steam page|
|
|
||||||
|Sales Estimate|[GameDiscoverCo backend](https://gamediscover.co/)|
|
|
||||||
|Net Steam Revenue|[Steam Revenue Calculator - Boxleiter Method](https://steam-revenue-calculator.com/)|
|
|
||||||
|Wishlist rank|[GameDiscoverCo backend](https://gamediscover.co/)|
|
|
||||||
|Steam Followers|[SteamDB](https://steamdb.info/)|
|
|
||||||
|Twitter|Followers|
|
|
||||||
|TikTok|Followers|
|
|
||||||
|Reddit|Subreddit followers|
|
|
||||||
|Instagram|Followers|
|
|
||||||
|Switch|Yes/No|
|
|
||||||
|PS4/5|Yes/No|
|
|
||||||
|Xbox|Yes/No|
|
|
||||||
|Apple|Yes/No|
|
|
||||||
|Android|Yes/No|
|
|
||||||
|Net Other Console Revenue|Calculated automatically (adds 20% of net Steam revenue for each platform selected)|
|
|
||||||
|Total Revenue|Calculated automatically|
|
|
||||||
|
|
||||||
Fill in the relevant data for each competitor.
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
Here's a real example of a completed spreadsheet that we did for an investee: [**Cozy Games Market Analysis**](https://docs.google.com/spreadsheets/d/1mhf6Zae1CDPhx2WGfqLIc8PSiJ8Uzuo3rNYxE9Wugis/edit?usp=sharing)
|
|
||||||
::
|
|
||||||
|
|
||||||
|
|
||||||
## Step 5: Analyze data and draw conclusions
|
|
||||||
|
|
||||||
After you've gathered all the data, it's time to analyze it and draw conclusions.
|
|
||||||
|
|
||||||
**Identify successful game mechanics:** Pay attention to what mechanics make the top games in your genre successful. Could you incorporate these into your game, or improve on them?
|
|
||||||
|
|
||||||
**Look at pricing:** Are games in your genre generally free, low-cost, freemium, premium? What pricing model seems to generate the most revenue, and which aligns best with your game (and perhaps values)?
|
|
||||||
|
|
||||||
**Spot release trends:** Are there certain times of the year when games in your genre seem to launch more successfully? Are there any trends in how they launch (e.g. Early Access, full release, etc.)?
|
|
||||||
|
|
||||||
**Weigh the impact of community:** What tools and platforms do successful games use to connect with players and fans? What are those communities like? (Check out Victoria Tran's [Community Dev newsletter](https://www.victoriatran.com/newsletter) for great tips and analysis on this topic.)
|
|
||||||
|
|
||||||
**Determine the best marketing channels:** Which platforms are your competitors using to promote their games? Do they use influencers or rely more on press releases and news articles? Do they spread themselves out across all the social media sites or focus on one or two? What kind of content do they share, and how often? Identify the strategies that could work for you.
|
|
||||||
|
|
||||||
It's still _your_ game and you might decide to discard some or all of this intel. Don't feel like you have to do things the way others do just because they're successful. This is just one piece of the complex puzzle of marketing your game; only you know what feels right for you.
|
|
||||||
|
|
||||||
## Step 6: Keep it updated!
|
|
||||||
|
|
||||||
_That's all there is to it! lol_
|
|
||||||
|
|
||||||
Like all your studio and marketing tasks, this isn't a one-and-done thing. You'll want to keep your spreadsheet current (set a reminder to do a review every couple of months). And keep an eye out for new games, changes in pricing strategies, and trends around your genre's market.
|
|
||||||
|
|
||||||
If you have any suggestions about improving this guide or the template, please [get in touch with us](mailto:hello@weirdghosts.ca). Or better yet, hit that "Edit this page on GitHub" button at the bottom of the page.
|
|
||||||
|
|
||||||
- - -
|
|
||||||
**Resources**
|
|
||||||
- [GameDiscoverCo newsletter](https://gamediscover.co/)
|
|
||||||
- [How to Market a Game](https://howtomarketagame.com/)
|
|
||||||
|
|
||||||
**Tools**
|
|
||||||
- [Steam Hype Chart](https://plus.gamediscover.co/hype/) (requires Pro GameDiscoverCo account)
|
|
||||||
- [SteamDB](https://steamdb.info/)
|
|
||||||
- [Steam Revenue Calculator](https://steam-revenue-calculator.com/)
|
|
||||||
- [VideoGameInsights](https://vginsights.com/)
|
|
||||||
|
|
@ -1,210 +0,0 @@
|
||||||
---
|
|
||||||
title: Pitching to Publishers
|
|
||||||
description: Pitching to Publishers
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.228Z'
|
|
||||||
---
|
|
||||||
# Pitching to Publishers
|
|
||||||
|
|
||||||
_Jennie's notes from Jason Della Rocca talk at Digital Alberta. These can be fleshed out and expanded on!_
|
|
||||||
|
|
||||||
## Mindset
|
|
||||||
|
|
||||||
You’re pitching an opportunity, not a problem. Pitching is a critical survival skill - there’s no shame in getting out in the world and talking about yourself.
|
|
||||||
|
|
||||||
Think beyond publishers. Pitching is also to garner:
|
|
||||||
|
|
||||||
- Love/support from platform holders
|
|
||||||
- Favors from vendors
|
|
||||||
- Input from peers
|
|
||||||
|
|
||||||
Pitching is about getting people behind your vision. Think in terms of long-term relationship building - not every meeting is a win/lose.
|
|
||||||
|
|
||||||
## Before going
|
|
||||||
|
|
||||||
1. **Build a target list**
|
|
||||||
- Do research on past deals/genre tags supported by publisher
|
|
||||||
- Chase most important first
|
|
||||||
2. **Book meetings before the event**
|
|
||||||
- Chase via email, get intros, cold call
|
|
||||||
- Sign up for the matchmaking system
|
|
||||||
- Pro-tip: Schedule most important targets for day 2 - day 1 is for practice
|
|
||||||
- Avoid early morning - higher flake risk
|
|
||||||
- Pro-tip: Chase a published studio for an intro
|
|
||||||
3. **Prepare materials**
|
|
||||||
4. **Practice practice practice**
|
|
||||||
|
|
||||||
## Pitch materials
|
|
||||||
|
|
||||||
- Prep your meta materials for publishers to look at
|
|
||||||
- LinkedIn
|
|
||||||
- Website
|
|
||||||
- Social channels
|
|
||||||
- Prepare materials
|
|
||||||
- 1-pager
|
|
||||||
- Visual assets: video, screenshots, concept art
|
|
||||||
- Pitch deck
|
|
||||||
- Stable game build - absolutely essential
|
|
||||||
- Best result is request for pitch deck and build of the game
|
|
||||||
- Pro-tip: load everything to your laptop and phone for backup - don’t rely on access to the internet
|
|
||||||
|
|
||||||
## Intro Cycle
|
|
||||||
|
|
||||||
Intro based on one-line summary and piece of art.
|
|
||||||
|
|
||||||
- Ideal if done via a mutual trusted connection
|
|
||||||
- Or “cold call” on LinkedIn/Twitter or meeting matchmaking system
|
|
||||||
|
|
||||||
Meeting request with one-pager
|
|
||||||
|
|
||||||
- Pro-tip: Include one-pager link in matchmaking system request
|
|
||||||
|
|
||||||
Likely agreement to meet
|
|
||||||
|
|
||||||
- May request extra information
|
|
||||||
- Don’t send anything unless asked
|
|
||||||
|
|
||||||
Keep email exchange simple, focus on logistics
|
|
||||||
|
|
||||||
- Save game details for meeting
|
|
||||||
- Pro-tip: Update contact cell numbers
|
|
||||||
|
|
||||||
## 1-pager design
|
|
||||||
|
|
||||||
- 1 letter sized page, PDF
|
|
||||||
- Visually sharp like a movie poster
|
|
||||||
- Key data elements
|
|
||||||
- Genre, platforms, price-point
|
|
||||||
- Current production status, target release date
|
|
||||||
- Key features/USP
|
|
||||||
- Competition/market
|
|
||||||
- Studio logo, contact info
|
|
||||||
|
|
||||||
## Pitch formats
|
|
||||||
|
|
||||||
- Casual/at-the-bar
|
|
||||||
- Elevator
|
|
||||||
- “Performance” (e.g., GDC pitch, pocket gamer big indie pitch)
|
|
||||||
- Initial meeting
|
|
||||||
- Follow-up meeting
|
|
||||||
|
|
||||||
## Typical “1st Meeting Pitch” Elements
|
|
||||||
|
|
||||||
LESS IS MORE. Make it fit on 10 slides - target 5 minutes. No walls of text - keep it highly visual as support for your presentation.
|
|
||||||
|
|
||||||
1. **Awesome cover art/logo**
|
|
||||||
- **Goal**: Catch attention right from the start
|
|
||||||
- Establish brand vibe
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
2. **Gameplay/story overview + art**
|
|
||||||
- **Goal**: Articulate core essence of the game succinctly
|
|
||||||
- Don't waste time on discussing combo mechanics for 20 minutes
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
3. **Video clip**
|
|
||||||
- **Goal**: Show off how cool the game is and that it is (mostly) real
|
|
||||||
- Could be teaser, raw gameplay footage, mock gameplay
|
|
||||||
- 30-45 seconds
|
|
||||||
4. **USPs + art**
|
|
||||||
- Prove your game has unique/innovative elements, compelling
|
|
||||||
- Already thinking about how it will be marketed
|
|
||||||
- “Fun to play” or “indie style” are NOT USPs
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
5. **Traction**
|
|
||||||
- **Goal**: Prove that others think you are cool or worthy
|
|
||||||
- Social media likes and views
|
|
||||||
- Festival selections/showcases
|
|
||||||
- Discord size
|
|
||||||
- Press coverage
|
|
||||||
- Special deals, relationships, partners, advisors
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
6. **Business model + Competitive analysis**
|
|
||||||
- **Goal**: Demonstrate there is a market for your game
|
|
||||||
- Include: pricing, platforms, genre tags
|
|
||||||
- Skip sales forecasts and focus on finding good comparables
|
|
||||||
- Ideally games released in the last 12 months
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
7. **Production timeline**
|
|
||||||
- **Goal:** Help publisher understand the state of the game and how much work is left until launch
|
|
||||||
- Use “sausage” timeline visual
|
|
||||||
- Include key production milestones past/future, reveal, release, DLC dates, events or big marketing beat dates
|
|
||||||
- Assumes you have budget and production schedule!!
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
8. **Team, pedigree, awards**
|
|
||||||
- **Goal**: Convince them you are the team to make this amazing game
|
|
||||||
- Can include production partners
|
|
||||||
- Past notable studios/projects
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
9. **Ask**
|
|
||||||
- **Goal:** Clearly ask what you need and expect from the publisher
|
|
||||||
- Can cover stuff like:
|
|
||||||
- Funding requirements and broad use of funds
|
|
||||||
- Role/functional needs (ie, PR, trailer, localization, porting, etc)
|
|
||||||
- Product/genre expertise
|
|
||||||
- Specific geographical or platform needs
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
10. **Contact/socials info, more awesome art**
|
|
||||||
|
|
||||||
## Practice, practice, practice
|
|
||||||
|
|
||||||
### During an event
|
|
||||||
|
|
||||||
1. **Use 1hr meeting blocks to allow for buffer**
|
|
||||||
- Be 2 people in each meeting (one talker, one note-taker)
|
|
||||||
- Pro-tip: Mark actual local time in the calendar title
|
|
||||||
2. **Meeting zones**
|
|
||||||
- Biz lounge
|
|
||||||
- Expo/booths
|
|
||||||
- Other chill areas like hotel lobby - scout in advance
|
|
||||||
3. **Daily debriefing and tweaking**
|
|
||||||
- After each pitch, assess how it went and update your deck
|
|
||||||
4. **Meeting flow**
|
|
||||||
- Typically 30 minutes
|
|
||||||
- 3 min. - small talk and biz cards
|
|
||||||
- 7 min. - Get publisher talking about themselves
|
|
||||||
- Pro-tip: Get them talking first so you can modulate
|
|
||||||
- Ask open ended questions
|
|
||||||
- 5min. - Run through deck
|
|
||||||
- 5 min. - offer to play build (they’ll prob decline)
|
|
||||||
- **10 min. - Q&A/discussion and next steps**
|
|
||||||
5. **On-site chasing**
|
|
||||||
- COVID impacts to keep in mind
|
|
||||||
- Parties and networking events
|
|
||||||
- Ask for on-the-spot intros via other devs
|
|
||||||
6. **Goal of the meeting**
|
|
||||||
- Get past the “shit-filter”
|
|
||||||
- Assess compatibility
|
|
||||||
- Timing, funding size, roles
|
|
||||||
- Setup next meeting, post event
|
|
||||||
- Have clear follow-up/action items
|
|
||||||
- Collect market intelligence
|
|
||||||
- Use notes! What are publishers focused on?
|
|
||||||
7. **Post-show follow-up**
|
|
||||||
- Debrief and update targets spreadsheet
|
|
||||||
- Pitch postmortem (what went right/wrong, to improve)
|
|
||||||
- Follow-ups
|
|
||||||
- Follow-up emails per action items
|
|
||||||
- Add everyone on LinkedIn
|
|
||||||
- Nags
|
|
||||||
- Max 2 nags after call, 1-2 weeks apart
|
|
||||||
- Afterwards, only ping based on meaningful progress
|
|
||||||
|
|
||||||
|
|
||||||
|
|
@ -1,155 +0,0 @@
|
||||||
---
|
|
||||||
title: Process Development
|
|
||||||
description: ''
|
|
||||||
category: studio-development
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.624Z'
|
|
||||||
---
|
|
||||||
# Collaboration, Process Development and Tools
|
|
||||||
|
|
||||||
## Overview
|
|
||||||
|
|
||||||
We started by understanding our [goals and values](/articles/actionable-values), which form the foundation for everything we do in developing a collective-minded studio. We then explored the [development and structure of the studio](/articles/co-op-structure) and how collectivism functions within that structure. We also talked about [decision-making](/articles/decisions-and-conflict) and how it informs our processes. In this article, we'll be focusing on **collaboration**, **process development**, and **tools**.
|
|
||||||
|
|
||||||
This isn't about how to use specific tools, though we will take a peek at some Miro flows and UI. More importantly, we'll be discussing why we develop certain processes and how they benefit the collective.
|
|
||||||
|
|
||||||
## Developing Collaborative Processes
|
|
||||||
|
|
||||||
Processes provide **visibility into accountability**. When we document our processes, everyone understands why things are the way they are, and they can adapt to the needs of those who are responsible. This means that there's no one-size-fits-all approach to processes, and we should review them regularly as requirements and roles evolve. Since your studio will likely change with members coming and going, it's worth iterating on your processes to ensure they remain effective.
|
|
||||||
|
|
||||||
In a collective, the processes you adopt are a **reflection of your studio structure**. The design of your processes is an opportunity to practice inclusion and care. This is something that people often overlook when developing their processes for the first time. Think about your values: Who can access your processes, and how can you make them accessible to as many people as possible? Of course, some things are just what they are. For example, if your studio is focused on audio design, being able to hear the sound is critical. There's only so much you can do for people who can't hear. However, you can address accessibility needs by accommodating different learning styles and providing various ways to access processes and information (such as text, video, mind maps, etc.). By recording and using processes with regularity, you're ensuring continuity in the operations of your studio, even in the face of change. Things will inevitably change, so it's important to avoid relying on just one person or system. Have a backup plan.
|
|
||||||
|
|
||||||
## Evaluating the Role of Productivity
|
|
||||||
|
|
||||||
In traditional companies, productivity and efficiency are the most important aspects of a good process. But these aren't the only factors that should be prioritized, especially if you are trying to do things a bit differently from the norm. While it's useful for members to feel empowered to streamline their work and eliminate unnecessary steps or tasks, try to examine what this emphasis on productivity means in the context of our capitalist society. We need to ensure that our focus on efficiency doesn't result in overworking or burnout, for example. Instead, we should use tools and processes to help us **stay organized** and **communicate better** so that we can focus on the work that really matters.
|
|
||||||
|
|
||||||
To illustrate this point, let's take a look at a typical co-op structure and the various roles and responsibilities involved. Members are responsible for voting on co-op decisions, while directors facilitate governance development and may handle government filings. Management is typically responsible for project management and reporting, while workers create and develop asset pipelines. By understanding these roles and responsibilities, we can work together more effectively and ensure that everyone's contributions are valued.
|
|
||||||
|
|
||||||
## Reusability of Processes
|
|
||||||
|
|
||||||
What's interesting is that creating processes can have multiple purposes and roles. For instance, a process for meetings can be used for any type of meeting within the co-op structure, from standups to the annual general meeting (AGM). It could be applied to one-on-one meetings, committee formations, and collaborations. The process of committee formation can be compared to working groups or node formation. Once you create a process, it can be reused for any committee or ad hoc group in your co-op.
|
|
||||||
|
|
||||||
When it comes to reporting, get specific. Describe the purpose of channels and how you handle task assignment, handoff, asset storing, and more. Asset storing can include 3D models, textures, sound libraries, co-op reference documents, financial documents, and other things. Although the specifics of how we store and name these assets may differ, the process of uploading them, making backups, and notifying everyone of the changes can remain consistent throughout the entire co-op.
|
|
||||||
|
|
||||||
## Example Task Framework
|
|
||||||
|
|
||||||
When developing and analyzing processes, it can be helpful to think of them within a framework. One such framework that one of the Gamma Space members has been using for over a decade is what they call the core loop of Meet, Make, and Manage. Each of these functions is essential, and everyone performs them at some point.
|
|
||||||
|
|
||||||
- **Meet** is where you plan, solve problems, and document decisions.
|
|
||||||
- **Make** involves building, testing, and relaying what came out of the Meet stage.
|
|
||||||
- **Manage** is where you report, resolve discrepancies, and update communication as necessary.
|
|
||||||
|
|
||||||
This framework can provide a useful starting point for analyzing your processes, but it's just one example.
|
|
||||||
|
|
||||||
## Implementation Considerations
|
|
||||||
|
|
||||||
### Understanding the Purpose and Goals
|
|
||||||
|
|
||||||
Identifying when to implement a process involves asking a few essential questions.
|
|
||||||
|
|
||||||
First, we need to understand _why_ we are creating this process and _what_ we want to achieve through it. These are two different questions that require separate considerations as they may have variations or multiple parts to them.
|
|
||||||
|
|
||||||
Second, we need to determine how to carry out the process and who will be affected by it. This includes considering the scope of the process and the frequency with which it will be used. You'll need to understand these factors to determine how complex or rigid the process should be. By addressing these questions, you can develop a clear and effective process that meets your needs and achieves the desired outcome.
|
|
||||||
|
|
||||||
### Responsibility and Specialization
|
|
||||||
|
|
||||||
Here are some factors to consider when applying a process:
|
|
||||||
|
|
||||||
- **Responsibility**: Who's leading the process? Is it a stewardship role or something like IT support, for example?
|
|
||||||
- **Intensity**: Is it very focused and on-demand or more casual and requiring less attention?
|
|
||||||
- **Frequency**: Is it regularly scheduled or done on an as-needed basis?
|
|
||||||
- **Degree of specialization required**: Do you need someone who is highly skilled or is minimal training sufficient?
|
|
||||||
|
|
||||||
### Process Implementation and Adaptability
|
|
||||||
|
|
||||||
Well-planned and considered processes can make complex tasks less daunting. For instance, if you're working with a governance committee, you don't need to know _everything_ about governance. Instead, you can focus on tasks such as hosting meetings and making sure you have a representative from every node. The governance committee can bring everyone together and facilitate conversations around fundamental changes to decision-making, working with subcontractors or contractors, and other relevant topics.
|
|
||||||
|
|
||||||
The key is to have a question or goal in mind and facilitate the conversation around it. By allowing people to contribute to the agenda ahead of time, you can ensure that everyone's voice is heard and the meeting is productive.
|
|
||||||
|
|
||||||
Thoughtful processes can mitigate many issues. This is particularly important for small teams. Context switching can be a major headache, especially for small teams. For example, switching between filing a CRA form and designing a level can be pretty challenging. There's no magical secret to make this easier, but having a well-defined and thoughtful process in place can help people go through the steps more efficiently. It may be helpful to allocate specific time for this.
|
|
||||||
|
|
||||||
### Quantifying Processes in Small Teams
|
|
||||||
|
|
||||||
It's essential to quantify these processes, even in small teams, to attach a value to them. This way, we can better understand the value flow and granularity and get a complete picture of what's going on. This helps us address any issues that team members may feel uncomfortable about.
|
|
||||||
|
|
||||||
If it's become untenable, maybe because you're too small, what are you going to do about it? As you are aligned, respect shared processes and values – you'll work through it and figure it out.
|
|
||||||
|
|
||||||
But what _doesn't_ work is working individually and then coming together and expecting it all to magically coalesce because you all get along on pizza night. Yes, you probably see your team members as friends, which is admirable. But resentment can happen when a context switch becomes an expected, almost semi-permanent thing. And that's why it is helpful to regularly review your processes, and not rely on good vibes.
|
|
||||||
|
|
||||||
### Game Dev to Non-Game Dev Work Ratios
|
|
||||||
|
|
||||||
Finally, consider game dev work to non–game dev work ratios. For example, it might sound frustrating to spend three weeks writing a proposal without touching your level design tasks. However, as a member of a team, you have ownership and responsibility over the project as a whole. Everyone on the team must share in the non-game development tasks, or knowledge about how to complete them must be shared amongst the team. So, how can we do this? When do we get to make our game?!
|
|
||||||
|
|
||||||
### Documentation and Knowledge Sharing
|
|
||||||
|
|
||||||
A great first step is to write down the process you followed, even if you don't have the answer yet. This way, you can share it with the group and see if anyone else can help. If you're struggling with something specific, like creating a budget in a spreadsheet, that's okay. There may be others who are willing to help with everything else, leaving you to focus on your specialized skill. Having this framework will help you have clear conversations about how best to approach the task.
|
|
||||||
|
|
||||||
## Tools for Effective Collaboration
|
|
||||||
|
|
||||||
Tools help facilitate process. They are not a replacement for process. Your desired process should always be considered as you select a tool. A common issue, particularly for small teams, is the lack of a dedicated project manager. If you don't have a project manager, you're probably going to look into a tool of some sort. Some try to ease into it and give you a starter template or link to a production methodology. But the truth is it's not the same as having a skilled person there to help you. This is why your process should inform your tools.
|
|
||||||
|
|
||||||
Some tools have features that may help inform the process you choose and let you learn something from it – but it shouldn't dictate it. Just because JIRA is set up perfectly for doing scrums and Agile development, doesn't mean that your team has to do Agile development. In fact, for a lot of small teams, Agile development is not particularly helpful.
|
|
||||||
|
|
||||||
Some tools have implications when they are weighed against your values. This applies even when you are considering tools that are not specifically related to processes but rather used for creation. We have previously discussed this in the context of deciding between Godot and Unity. Game Maker may also appear appealing now, but their recent move to a free model could be subject to change at any point. You should also consider how open-source tools and reliance on big tech companies play into your decision-making process.
|
|
||||||
|
|
||||||
Slack is a big tech platform, and although there are non-big tech alternatives available, they may not offer all the same functionality as Slack. Similarly, Discord may not be suitable for every community. Regardless of which platform you choose, you are still at the mercy of their decisions regarding free plans and pricing for non-profit organizations. Make contingency plans and regularly explore alternatives.
|
|
||||||
|
|
||||||
|
|
||||||
## Miro UI Tips
|
|
||||||
|
|
||||||
_to be added_
|
|
||||||
|
|
||||||
It's worth thinking about what you're trying to accomplish in your process, then finding tools that allow that.
|
|
||||||
|
|
||||||
One Gamma Space member says they were initially put off by Miro, as a person used to storing documentation and ideation as plain-text files. But when the pandemic hit, being inside a "page" with other people was comforting and helped him feel connected when our space had closed. And now the tool is central to our processes. So, give yourself the chance to see processes differently than you usually do.
|
|
||||||
|
|
||||||
Even if you are working with your team in person, a virtual whiteboard tool can still be helpful. Not to mention, it helps address accessibility needs for folks who can't come in to the office.
|
|
||||||
|
|
||||||
## Project Management is a Flow
|
|
||||||
|
|
||||||
Regardless of the tool you're using, you'll need to establish a workflow process. This applies to your virtual whiteboard, where you might plot marketing and development ideas, as well as your project management tools, covering everything from assignments to task completion (and any other tools!).
|
|
||||||
|
|
||||||
The assignment of tasks may seem straightforward, but it raises questions, especially if your team doesn't have project manager. Should the task-assignment role rotate based on the current sprint or work unit? Or should it fall to the person coming up with the idea? In some cases, it's someone other than the person executing the task, which streamlines the process for review and accountability.
|
|
||||||
|
|
||||||
The execution of tasks often leads to ambiguity. A common scenario involves someone marking a task as done without thorough completion or oversight. This raises the question of who reviews these tasks. Trust and repeatable review processes are critical here. In our workflow, task completion and review expectations are clearly set from the start, ensuring everyone understands their roles and responsibilities.
|
|
||||||
|
|
||||||
## Communication and Reporting Dynamics
|
|
||||||
|
|
||||||
Balancing conversation and reporting is another issue. In platforms like Asana, comments can either facilitate discussions or become a space for making decisions. In our case, conversations about tasks happen in Slack channels related to the project, while the decisions and actionable steps are recorded as comments in the Asana task.
|
|
||||||
|
|
||||||
Integrating task management tools like Asana into communication platforms like Slack can be challenging but beneficial. You need to be clear about where conversations and decisions take place. For example, any decision made during a discussion in Slack can be added to the relevant task in Asana for clarity and documentation.
|
|
||||||
|
|
||||||
## Example Workflow
|
|
||||||
|
|
||||||
Take a simple workflow:
|
|
||||||
|
|
||||||
1. The project lead assigns a task.
|
|
||||||
2. The team member then devises a strategy for execution.
|
|
||||||
3. If needed, support is brought in.
|
|
||||||
4. Once the task is complete, the lead reviews and marks it as done.
|
|
||||||
|
|
||||||
Visualizing this workflow on a Kanban board, such as in Asana or Trello, helps track the stages of a task – whether it's due, in progress, ready for review, or completed. Again, the choice of tool is totally up to you!
|
|
||||||
|
|
||||||
In our approach, before marking a task as complete, the lead and team discuss the tasks and necessary communication channels. This ensures everyone understands the workflow. The lead then reports on the outcomes according to the set schedule. This is our specific structure, but you can adapt it to fit your own needs. Carefully consider how you incorporate these things into your structure – don't just insert a tool or process all willy-nilly!
|
|
||||||
|
|
||||||
## Conclusion
|
|
||||||
|
|
||||||
So, to summarize, our process is iterative and recursive. It begins with defining our goals and values, followed by studio development and decision-making. We then develop our collaboration processes. These collaboration processes can influence and improve the initial stages as we revisit them. This means that as we learn to work more effectively together, we can refine our studio's foundational elements, like goals and values. Remember, our goals and values are not fixed; they need to be continually refined. This commitment to improvement helps us build a strong collective, enabling us to make diverse decisions and establish structures that truly challenge industry norms.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Q&A
|
|
||||||
|
|
||||||
**Q:** In a small team of three to four members where there are no designated roles like a producer or a team lead, how are tasks typically reviewed, created, and assigned? Can you provide an example of this process?
|
|
||||||
|
|
||||||
**A:** First: Recognize the importance of discussing rules, responsibilities, and structure with everyone on the team. At Gamma Space, it's crucial for someone to responsibly steward a project, though this role doesn't have to be fixed and can rotate. We've implemented a concept of "on and off ramps," allowing changes in who leads project management.
|
|
||||||
|
|
||||||
Before a task is added to a tool like Asana, we define its scope and timeline, identifying who is responsible and when they can transition out. For example, a person might lead a task with high intensity for two months, after which they can step back, and someone else can take over. This process is planned and understood by everyone, enabling flexibility and learning opportunities, especially for those with varying levels of experience.
|
|
||||||
|
|
||||||
It's easy to see how important an approach like this is in a cooperative environment where everyone shares ownership, responsibility, and accountability for the organization's health. It's not about hierarchy but about creating a system that's adaptable and conducive to learning. Not all co-ops operate this way – some prefer more rigid structures. However, each co-op must choose a method that aligns with its values and impact goals.
|
|
||||||
|
|
||||||
Regarding task management in Asana, we could implement a system where everyone pairs up to review at least one other person's tasks. This ensures collective oversight, but we use our judgment to avoid redundancy, like reviewing every step of a repetitive task. This is where discernment comes into play. It involves not just intelligence or experience but the ability to assess whether a process is efficient and if there might be a better approach.
|
|
||||||
|
|
||||||
_This content was developed by [Gamma Space](https://gammaspace.ca) for a 2023 Baby Ghosts cohort presentation. We have summarized and adapted it here._
|
|
||||||
|
|
@ -1,128 +0,0 @@
|
||||||
---
|
|
||||||
title: Publisher Contract Review
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.229Z'
|
|
||||||
---
|
|
||||||
# Whitethorn Games Contract Review
|
|
||||||
|
|
||||||
WhiteThorn made their [agreement](https://docs.google.com/document/d/e/2PACX-1vQYB4MfO44m7KRK73lMCis52XvmATIb9sy3NwoIRI4d50SyXPO4v0kg3PDxXMU2Cjjw-L5D-gWKK9dR/pub) public in response to Raw Fury doing the same. They are an American indie publisher of cozy games.
|
|
||||||
|
|
||||||
## Making the game
|
|
||||||
|
|
||||||
### Typical Indie Contract:
|
|
||||||
- Publisher finances development.
|
|
||||||
- You submit milestones and get paid as milestones are approved by Publisher.
|
|
||||||
|
|
||||||
### Whitethorn:
|
|
||||||
- Fixed monthly payments for 21 months.
|
|
||||||
- No clear date for gold master or publishing the game.
|
|
||||||
- No milestones or approvals, but provide access to builds every two weeks.
|
|
||||||
- Developer has creative control, but Whitethorn has disability/accessibility input rights.
|
|
||||||
|
|
||||||
### Pros:
|
|
||||||
- Very flexible for Developer.
|
|
||||||
- Money not tied to publisher approval of milestones.
|
|
||||||
|
|
||||||
### Cons:
|
|
||||||
- Missing a deadline by 10 days allows contract termination.
|
|
||||||
- No post-launch milestone revenue = cashflow issues.
|
|
||||||
|
|
||||||
### Making it more Indie-friendly:
|
|
||||||
- Rework penalties for late delivery (see termination section).
|
|
||||||
- Address post-launch cashflow:
|
|
||||||
- Extend monthly payments past launch, or
|
|
||||||
- Negotiate 80/20 or 90/10 pre-recoup rev share, or
|
|
||||||
- Ensure that studio has sufficient cash on hand.
|
|
||||||
|
|
||||||
## Marketing the game
|
|
||||||
|
|
||||||
Typical deals are vague about marketing obligations and whether the publisher must publish the game. WhiteThorn provides marketing budget, by consensus. No guaranteed publishing date; no mention of pricing, discounting etc. Vague mention of merchandising. Very vague about merchandising and porting.
|
|
||||||
|
|
||||||
### Suggestions:
|
|
||||||
- Ask for a marketing plan and attach to the contract.
|
|
||||||
- Add clauses that guarantees publishing.
|
|
||||||
|
|
||||||
## Revenue calculation and sharing
|
|
||||||
|
|
||||||
### Typically:
|
|
||||||
- Publisher recoups development costs, marketing.
|
|
||||||
- Rev share during recoup is between 100/0 to 80/20.
|
|
||||||
- Post-recoupment split is around 50/50, depending on publisher investment level.
|
|
||||||
- Rev share may shift towards developer over time.
|
|
||||||
- Payments are made monthly or quarterly.
|
|
||||||
|
|
||||||
### WhiteThorn:
|
|
||||||
- Publisher recoups 100% of development expenses, 30% of PC/console marketing, 100% of mobile marketing.
|
|
||||||
- Pre-recoupment rev share is 100/0.
|
|
||||||
- Post-recoupment rev share is undefined.
|
|
||||||
- Merchandising revenue is either 100/0 for Developer, or 50/50 if sold via Publisher. No one does less than 50/50 after recoup.
|
|
||||||
- Porting costs are non-recoupable.
|
|
||||||
- Monthly payments.
|
|
||||||
- Good developer audit rights.
|
|
||||||
|
|
||||||
## Intellectual property ownership
|
|
||||||
|
|
||||||
Developer retains ownership of IP. Publisher has exclusive licence (transfer of almost all IP rights to the publisher) over platforms/markets covered by contract. What you get in return is royalties. Rights of first refusal/first offer on sequels and expansions.
|
|
||||||
|
|
||||||
### Suggestions:
|
|
||||||
- Negotiate how long until you get IP back - it should be tied to publishing timeline.
|
|
||||||
- Net revenue may be calculated differently by an accountant and a lawyer. Be clear.
|
|
||||||
|
|
||||||
## How easy is it to get out of this deal?
|
|
||||||
|
|
||||||
One successful game gives you a lot of bargaining power. (As does having multiple publishing deal options)
|
|
||||||
|
|
||||||
## Termination Rights and Obligations
|
|
||||||
|
|
||||||
### Typical Indie Deal:
|
|
||||||
- Roughly 5 year duration.
|
|
||||||
- Termination if one side breaches the contract.
|
|
||||||
- Termination on mutual agreement.
|
|
||||||
- Publisher can terminate before launch without needing a reason, but pays a financial penalty (typically 1-2 milestone payments) and has no ongoing rights in the game if it does so.
|
|
||||||
|
|
||||||
### Whitethorn:
|
|
||||||
- Duration is essentially 2 years from first publication on any platform, but duration is somewhat unclear.
|
|
||||||
- Both Publisher and Developer can terminate at any time on 60 day notice.
|
|
||||||
- No penalty for Publisher doing so.
|
|
||||||
- If Developer does so, continued payment of rev share for 24 months.
|
|
||||||
- Developer or Publisher can terminate if the other side breaches and that breach continues for more than 10 days.
|
|
||||||
|
|
||||||
### Making the contract more indie-friendly:
|
|
||||||
- Clarify the duration of the contract.
|
|
||||||
- Extend the 10-day notice period to 30 days for termination for breach.
|
|
||||||
- Clarify the penalty for termination without cause by both Publisher and Developer.
|
|
||||||
- Add developer termination rights for failure to publish.
|
|
||||||
- Specify what happens on termination in greater detail, especially ports.
|
|
||||||
|
|
||||||
## Risk allocation
|
|
||||||
|
|
||||||
### Typical Indie Deal:
|
|
||||||
- You're on the hook for allegations of IP infringement, or other problems with the game.
|
|
||||||
- This is a low-risk, high-impact clause
|
|
||||||
- Patent trolling is no longer common
|
|
||||||
- Get insurance! Especially if you have more than the current IP
|
|
||||||
|
|
||||||
### Whitethorn:
|
|
||||||
- No promises regarding bugs and viruses, IP infringement warranties are really generous. Negotiate a qualifier.
|
|
||||||
|
|
||||||
### Pros:
|
|
||||||
- Very reasonable risk allocation for the Developer.
|
|
||||||
|
|
||||||
### Cons:
|
|
||||||
- None, really.
|
|
||||||
|
|
||||||
### Making the contract more Indie-friendly:
|
|
||||||
- These are all low-risk, high-impact clauses.
|
|
||||||
- But overall, take these as-is.
|
|
||||||
|
|
||||||
## Final thoughts
|
|
||||||
|
|
||||||
Raw Fury's contract in a word: Sneaky
|
|
||||||
|
|
||||||
Whitethorn's contract in a word: Sloppy
|
|
||||||
|
|
||||||
Bottom line: Whitethorn is still the most indie-friendly contract he has seen to date. Whether compared to Raw Fury or anyone else. Exhausted supply of public contracts - Raw Fury took a lot of flak online for theirs and no one else is really coming forward. Montreal indie contract idea.
|
|
||||||
|
|
@ -1,242 +0,0 @@
|
||||||
---
|
|
||||||
title: Results Flow
|
|
||||||
description: A step-by-step guide to creating a results flow for your indie game studio.
|
|
||||||
category: impact
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.626Z'
|
|
||||||
---
|
|
||||||
## Creating a results flow for an indie game studio
|
|
||||||
|
|
||||||
Capitalism tells us only financial returns – the bigger, the better! – are important. But it doesn't have to be this way. Broadening our understanding of _what value means_ can create more sustainable ways of working (and funding that work.)
|
|
||||||
|
|
||||||
Capitalistic returns almost always come at a great human and social cost. Extracting as much value as possible necessitates poor pay and working conditions; it keeps value from flowing to workers and really anyone who isn't at the top.
|
|
||||||
|
|
||||||
We don't just make games and print money. We work with humans who have needs and desires. We make cultural products that live on in players' imaginations and alter their perspectives; our ideas and work affect individuals and communities in ways we both intend and can't anticipate.
|
|
||||||
|
|
||||||
**So how can we account for and value positive social impact in our studio operations?**
|
|
||||||
|
|
||||||
In our blog post [A Brief Intro to Making Your Indie Game Studio Impactful](https://weirdghosts.ca/blog/a-brief-intro-to-making-your-indie-game-studio-impactful/), we explored how you can start thinking about what makes an impactful game studio. (If you haven't read it, take a moment now to get a grasp on the concept of social impact strategy for indies – it's not common in our industry!)
|
|
||||||
|
|
||||||
We also talked about imagining your _dream world_, and how to begin thinking about the social impact of what you do:
|
|
||||||
|
|
||||||
> To start your impact journey, **you need to describe your dream-world**. What does the planet look like if you are successful in achieving the change you want?
|
|
||||||
|
|
||||||
> Once you've defined your dream world, you need a strategy for making it a reality. Your strategy will align your actions and intended impact within the constraints of the resources you actually have.
|
|
||||||
|
|
||||||
## What's a results flow?
|
|
||||||
|
|
||||||
So, let's take a closer look at a tool for planning and measuring your studio's impact: The **results flow**, also known as (or similar to) a theory of change, logic model, or results chain. This tool will help you visualize the chronological (and logical) sequence of events – from activities to outcomes – that lead to your ultimate desired impact. It's a visual roadmap that illustrates what you need to do and what you expect to achieve.
|
|
||||||
|
|
||||||
The cool thing about a results flow is that it can incorporate all of your studio's goals and activities, not just those oriented toward social impact. It also:
|
|
||||||
|
|
||||||
We'll guide you through the process of developing your own results flow. First, we'll clarify some key concepts, then walk you through crafting your **intended impact statement**, drafting an **ultimate outcome statement**, and creating your **results flow** through backward mapping. We'll also get into how to inventory your activities, refine your diagram, and evaluate its realism and logic.
|
|
||||||
|
|
||||||
This guide, aimed at folks just embarking on their impact journey, will give you some practical advice and clear steps to help you on your way. We hope it will lead you to think deeply about the impact of your games and how your studio operates.
|
|
||||||
|
|
||||||
So, let's start developing a results flow for your studio!
|
|
||||||
|
|
||||||
|
|
||||||
### Understanding key concepts
|
|
||||||
|
|
||||||
First, let's clarify some key terms we'll use throughout this guide. These concepts form the backbone of your social impact strategy and will help you articulate and measure your studio's impact.
|
|
||||||
|
|
||||||
- **Activities**: The specific actions, initiatives, core tasks, and projects that your studio engages in.
|
|
||||||
- **Outputs**: These are the direct products of your activities. They are the tangible and intangible goods or services produced from your work (e.g., a published game, a completed client project, or a social media campaign).
|
|
||||||
- **Inputs**: These are the resources you need to carry out your activities (e.g., funding, collaborators, audience research, computers).
|
|
||||||
- **Intended impact**: This is the _change you will be accountable for_. It's a hypothesis about what will lead to your desired ultimate outcome. Your intended impact statement is not about your activities, projects, or strategy but rather the change you aim to make. It's about defining success for your studio and committing to your activities and outputs. It should clearly describe **what** you will achieve, **who** will benefit, and by **when**.
|
|
||||||
- **Ultimate outcome statement**: This describes _how the world looks if you are successful_. It's a vision of your dream world — how it would be if you achieved the desired change. You should word your ultimate outcome statement in the present tense and not worry about the scope or scale. What feels right — is right! It doesn't have to feel achievable or realistic right now.
|
|
||||||
- **Results flow**: Also known as a theory of change or results chain, a results flow is a _visual map of the sequence of events_ – from activities to outcomes – that lead to your ultimate outcome. It illustrates _what you need to do_ and _what you expect to achieve_ along the way.
|
|
||||||
|
|
||||||
Understanding these concepts is the first step in developing a results flow for your studio. In this article, we'll get into the details of how these elements relate and how you can use them to plan and implement your studio's social impact strategy.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
## Crafting your intended impact statement
|
|
||||||
|
|
||||||
Your intended impact statement is the starting place for developing your results flow and informs your entire social impact strategy. It's not about activities, projects, or strategies. It's about _defining success_ for your studio. It's about the _change_ you will make. And it should clearly describe **what** you will achieve, **who** benefits, and by **when**.
|
|
||||||
|
|
||||||
You need to understand your dream world to start crafting your intended impact statement. What do things look like if you are successful? Now get specific: What is the timeline, who is impacted, and what will be achieved? Being clear about when, who, and what is critical because it embeds the potential for _accountability_ into your dream world and makes it possible to create a workback plan and determine what resources are needed to get there.
|
|
||||||
|
|
||||||
Consider:
|
|
||||||
|
|
||||||
1. **What change will you make?** This is about the specific outcomes you're aiming for. What change do you want to see in the world due to your studio's work?
|
|
||||||
2. **Who benefits?** Consider your target population, identity, and geography. Who are the people or communities that will benefit from the change you're aiming to make?
|
|
||||||
3. **By when?** What is the timeframe for achieving this impact? Aim for 2-7 years. This helps to keep your goals realistic and achievable.
|
|
||||||
|
|
||||||
For example:
|
|
||||||
|
|
||||||
> By 2026, our studio will cultivate acceptance and understanding of Gen Z LGBTQIA+ perspectives among at least 40,000 players through our games that feature diverse characters and inclusive narratives.
|
|
||||||
|
|
||||||
Remember, your intended impact statement is not about the activities you're doing. It's about the specific results of your activities. It's how you move from _what we do_ to _what we contribute_. This clarity will push you to maintain focus and sets the stage for allowing your team to be held accountable.
|
|
||||||
|
|
||||||
Take some time to draft your intended impact statement. Don't worry about perfecting it at this stage. Just try to get these three elements defined. Review and refine your draft statement once you're happy with it. Share this process with your team and integrate their feedback.
|
|
||||||
|
|
||||||
Note the difference between a mission or vision statement and an intended impact statement. A mission or vision statement is broad and idealistic, focusing on what the studio is _doing_ rather than the _outcome_ of its work. An intended impact statement, on the other hand, is specific and measurable, focusing on the change you will make, who benefits, and by when.
|
|
||||||
|
|
||||||
## Drafting an ultimate outcome statement
|
|
||||||
|
|
||||||
When you're happy with your intended impact statement, it's time to draft your _ultimate outcome statement_. This statement is the full, boundless vision of your dream world – how it would be if you successfully achieved the change you want. It's about imagining the broadest impact of your work and how it contributes to the world you want to see.
|
|
||||||
|
|
||||||
Here's how to approach drafting your statement:
|
|
||||||
|
|
||||||
1. **Imagine your dream world**: Don't limit yourself by doubting whether it's possible or wondering where you'll get the resources – focus on what feels ideal to you. This is your chance to dream big and articulate the world you want to help create!
|
|
||||||
2. **Use present tense**: This helps to make it more tangible and real as if it's already happening. It makes it easier to understand whether or not you've achieved this goal later down the line.
|
|
||||||
3. **Keep it pithy**: It doesn't need to be long – it's often more powerful when short and precise. Try distilling your vision to its essence, capturing the heart of your goals as a studio.
|
|
||||||
|
|
||||||
Here's an example:
|
|
||||||
|
|
||||||
> LGBTQIA+ identities are understood and accepted in games, mirroring a society that celebrates diversity and inclusion.
|
|
||||||
|
|
||||||
While your intended impact statement is about the specific, measurable change you're committing to make, your ultimate outcome statement is about the broader impact of your work and the world you want to see.
|
|
||||||
|
|
||||||
Take your time with this step. Try to capture your vision as clearly as you can. Once you've drafted your statement, work on honing it with your team until it feels right. It could take days or weeks to arrive at something resonant.
|
|
||||||
|
|
||||||
|
|
||||||
#### Inventorying your activities
|
|
||||||
|
|
||||||
Inventorying your activities is next – don't worry, we're getting close to actually creating your results flow! This step involves identifying your studio's different core activities and understanding the outputs associated with each activity.
|
|
||||||
|
|
||||||
###### Identify your activities
|
|
||||||
|
|
||||||
First: List all the different activities that your studio does or offers. Think game development, porting services, writing articles, education and outreach, researching, or developing relationships with communities. Think beyond game production — what other types of tasks and projects do you or want to do?
|
|
||||||
|
|
||||||
Once you have a complete list, whittle it down to your primary 3-5 activities. (Don't stop doing the rest. We're just identifying which activities are _central_ to your studio's operations and impact.) Ask yourself: Can some activities be combined? Are there activities that are essentially part of the same process or aim at the same outcomes?
|
|
||||||
|
|
||||||
###### Understand the outputs
|
|
||||||
|
|
||||||
Label the associated outputs for each core activity you've identified. For example, if one of your activities is game development, the output is a published game. The output could be a completed client project if you're offering porting services. If you're writing articles, the output is a published article.
|
|
||||||
|
|
||||||
Your outputs are the tangible results of your activities that lead directly to outcomes. They are the _evidence of your work_ and the first step towards making your intended impact.
|
|
||||||
|
|
||||||
The goal of inventorying your activities is not just to have a list of what you do but to lay the groundwork for mapping these activities to your intended ultimate outcome. This understanding will help you refine your results flow and ensure that your actions will lead to your desired outcomes.
|
|
||||||
|
|
||||||
|
|
||||||
## Examples
|
|
||||||
|
|
||||||
Here's an example of a results flow from Weird Ghosts to help you visualize what we're aiming for:
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
To illustrate that your diagram can be formatted differently, here is [Mozilla's Theory of Change](https://foundation.mozilla.org/en/insights/trustworthy-ai-whitepaper/path-forward/introduction-theory-change/):
|
|
||||||
|
|
||||||
_–_Landscape_Design.jpg)
|
|
||||||
|
|
||||||
[Canada Learning Code](https://www.canadalearningcode.ca/theory-of-change/)’s:
|
|
||||||
|
|
||||||
|
|
||||||
And [Furniture Bank](https://www.furniturebank.org/charity-intelligence/)’s more illustrative diagram:
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
## Backward mapping: Creating your results flow
|
|
||||||
|
|
||||||
Backward mapping is a strategic planning process that starts with your ultimate outcome and works back to connect it to the activities you've identified in the previous step. This approach ensures that everything you do is aligned with your ultimate goal.
|
|
||||||
|
|
||||||
Here's how to create your results flow through backward mapping:
|
|
||||||
|
|
||||||
#### Start with your ultimate outcome
|
|
||||||
|
|
||||||
**Begin by stating your ultimate outcome.** Place it at the top of your workspace in a visual tool like [Miro](https://miro.com/). In addition to the above, another example is Weird Ghosts' ultimate outcome: "All marginalized game creators and studio founders in Canada have equitable access to a sustainable funding system and the resources they need to achieve their goals." (Psst… if you use Miro, copy [this board](https://miro.com/app/board/uXjVM4S_rag=/?share_link_id=763577396820) to get started really fast!)
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
#### Identify your activities
|
|
||||||
|
|
||||||
Next, **place your core activities at the bottom** of your workspace. You identified 3-5 of these in the previous step. An example: One of Weird Ghosts' core activities is offering a peer-led community-based training program. Another example could be "Developing games that feature LGBTQIA+ characters and narratives." In the diagram below, we've also created labels for each pillar.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
#### Brainstorm long-, medium-, and short-term outcomes
|
|
||||||
|
|
||||||
For each activity, brainstorm the outcomes you expect to see in the short, medium, and long term. These outcomes should be a _direct result of your activities_ and point toward your ultimate outcome.
|
|
||||||
|
|
||||||
- **Short-term outcomes** are the immediate effects of your activities – _changes in skills, knowledge, awareness, interests, and motivation_. For example, a short-term outcome of Weird Ghosts'" Community" activity is that creators feel an increased sense of community. In the case of developing games that feature LGBTQIA+ characters and narratives, a short-term outcome could be "Players gain exposure to diverse characters and narratives."
|
|
||||||
- **Medium-term outcomes** are the _changes in action, behaviour, practice, and attitude_ that result from the short-term outcomes. For Weird Ghosts, a medium-term outcome is that creators reinvest in the community. A medium-term outcome for the game development activity might be "Players develop empathy and understanding towards LGBTQIA+ identities."
|
|
||||||
- **Long-term outcomes** are the _changes in state or condition_ that result from the medium-term outcomes. A long-term outcome for Weird Ghosts is that creators feel a sense of belonging to a community they can engage with, support, and draw from. In the case of the game development activity, a long-term outcome could be "Players advocate for LGBTQIA+ rights and inclusion."
|
|
||||||
|
|
||||||
In your visual workspace, draw three columns or pillars below your ultimate outcome for these long-term, medium-term, and short-term outcomes. Place the long-term outcomes closest to the ultimate outcome and the short-term outcomes at the bottom.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
#### Map outcomes to activities
|
|
||||||
|
|
||||||
Now, draw lines to connect your activities to your short-, medium- and long-term outcomes and those to your ultimate outcome. Each line represents a step in your results flow, showing how each activity and outcome contributes to your ultimate outcome.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
This process will require some iteration as you make connections between your activities and outcomes and refine your outcomes to be as clear (hint: and as _measurable_) as possible. It's okay if it's not perfect on the first try – this is a living document. We just updated Weird Ghosts' last month!
|
|
||||||
|
|
||||||
By the end of this process, you should have a clear visual representation of your results flow, showing how your activities lead to your ultimate outcome. This will be a critical tool for planning, implementing, and evaluating your studio's impact. You can read more about that in our article [Developing Your Impact Measurement Framework](/articles/impact-measurement)
|
|
||||||
|
|
||||||
|
|
||||||
## Refining your results flow
|
|
||||||
|
|
||||||
Once you've drafted your results flow (_woo!_ 🙌), you can further refine it. Let's talk about it.
|
|
||||||
|
|
||||||
#### Identifying necessary resources
|
|
||||||
|
|
||||||
To pursue your outcomes, you'll need to ensure you have the right resources in place. Think funding, hiring artists, audience data, and the right graphics cards for your team. Reflect on each activity and outcome in your results flow and ask yourself: Do we have what we need to make this happen? If not, what's missing, and how can we secure it?
|
|
||||||
|
|
||||||
#### Considering activities to start or stop
|
|
||||||
|
|
||||||
You might realize that there are activities you're currently doing that don't contribute to your ultimate outcome. Or, you might identify new activities that could help you achieve your desired outcomes. This is a time for honest evaluation and (potentially) tough conversations. Don't be afraid to stop activities that aren't serving your goals or start new ones that will. For example, you might decide to stop certain marketing activities that aren't reaching your target audience or to start a new partnership with a community organization that offers support your team can't alone. (Like our partnership with [Gamma Space](https://www.gammaspace.ca) to deliver the [Baby Ghosts](https://weirdghosts.ca/baby-ghosts) program).
|
|
||||||
|
|
||||||
#### Prioritizing what is necessary now
|
|
||||||
|
|
||||||
While planning for the long term, figuring out what to do _now_ is also crucial. You don't need to implement every single column/pillar in your results flow right away. Instead, prioritize the activities and outcomes that are _most urgent or doable_ in the short term. This will help you conserve and build up energy and resources, putting you in a better position to tackle your long-term goals.
|
|
||||||
|
|
||||||
|
|
||||||
## Reflecting on your results flow
|
|
||||||
|
|
||||||
You've refined your results flow – now it's time to evaluate it. You'll check the realism and logic of your diagram and identify the outcomes you will hold yourself accountable for achieving.
|
|
||||||
|
|
||||||
#### Checking the realism and logic
|
|
||||||
|
|
||||||
Start by considering the feasibility of your plan. Ask yourself: Are the proposed activities likely to lead to the expected outputs? Are the connections between activities, outputs, and outcomes logical and realistic? Will we be able to secure the resources we need to pursue these outcomes?
|
|
||||||
|
|
||||||
For example, if one of your activities is "Developing games that feature LGBTQIA+ characters and narratives," and a short-term outcome is "Players gain exposure to diverse characters and narratives," consider whether this activity will realistically lead to this outcome. Will your target audience likely play your games and be exposed to diverse narratives? What will you do to engage this audience directly?
|
|
||||||
|
|
||||||
Also, consider the logic of your outcomes. Do your short-term outcomes _logically_ lead to your medium-term outcomes, and do those logically lead to your long-term outcomes? For example, does gaining exposure to diverse narratives logically lead to developing empathy and understanding (a medium-term outcome), and does that logically lead to advocating for LGBTQIA+ rights and inclusion (a long-term outcome)? Consider the nuances that need to be present in your work to lead to each outcome.
|
|
||||||
|
|
||||||
#### Identifying outcomes you will hold yourself accountable for achieving
|
|
||||||
|
|
||||||
Next, decide which outcomes on your results chain you will commit to achieving and, therefore [_measuring_](/articles/impact-measurement). This is about setting clear commitments and holding yourself accountable.
|
|
||||||
|
|
||||||
For example, you might decide to hold yourself accountable for the short-term outcome of "Players gain exposure to diverse characters and narratives." This means you would need to find ways to measure this outcome, such as through player surveys, feedback, discussion forums, and app analytics.
|
|
||||||
|
|
||||||
Remember, it's okay to adjust your results flow based on this evaluation. The goal is to create a roadmap that is both a realistic plan and a valuable tool for accountability.
|
|
||||||
|
|
||||||
|
|
||||||
## In conclusion…
|
|
||||||
|
|
||||||
We're so proud of you for taking this step toward understanding and planning the social impact of your indie game studio. By developing a results flow, you're mapping the path from what you do to actually _changing the world_ and creating a vital internal tool that will guide your actions, help you measure your progress, and hold you accountable. Your players, investors, and community will actually love you for it.
|
|
||||||
|
|
||||||
You'll revisit, revise, and refine your results flow as your studio grows, as you learn more about your impact, and as the ecosystem changes (because of _you!_). It reflects your studio's values, and you should share it with the world!
|
|
||||||
|
|
||||||
We hope we've inspired you to think ever more deeply about the impact of your games and how you make them. Embrace the whole process, refer to your results flow regularly and let it guide your core work.
|
|
||||||
|
|
||||||
In the next article in this series, we cover [**creating your impact measurement framework**](/articles/impact-measurement).
|
|
||||||
|
|
||||||
We can't wait to see the impact you'll make!
|
|
||||||
|
|
||||||
#### Additional resources
|
|
||||||
|
|
||||||
- [Miro Results Flow template](https://miro.com/app/board/uXjVM4S_rag=/?share_link_id=763577396820)
|
|
||||||
- Want a quick evaluation of your results flow and ultimate outcome statement? We'd be happy to take a look and provide actionable feedback. [Drop us a line.](mailto:hello@weirdghosts.ca)
|
|
||||||
- Looking for funding for your impactful game studio? Even if you're just starting your impact journey, [we'd love to hear from you](https://weirdghosts.ca/apply).
|
|
||||||
|
|
||||||
#### Acknowledgments
|
|
||||||
|
|
||||||
Warm thanks to:
|
|
||||||
|
|
||||||
- datejie cheko green of Gamma Space for coining the term "results _flow_" to replace the term" results _chain_." We adopted this term to avoid imagery associated with white supremacy and underscore the fluid rather than rigid nature of the links between outcomes.
|
|
||||||
- And the support of [Lift Philanthropic Partners](https://www.liftpartners.ca/) for their impact training
|
|
||||||
|
|
@ -1,40 +0,0 @@
|
||||||
---
|
|
||||||
title: Schedule
|
|
||||||
description: ''
|
|
||||||
category: programs
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.231Z'
|
|
||||||
---
|
|
||||||
# Program Schedule
|
|
||||||
|
|
||||||
## Stage 1 (Months 1-2)
|
|
||||||
|
|
||||||
| Activity | Time | Frequency |
|
|
||||||
|-----------------------------------|--------------------|---------------|
|
|
||||||
| Workshops and discussions | 2 hours | Weekly |
|
|
||||||
| Peer Support meetings | 1 hour | Weekly |
|
|
||||||
| Asynchronous check-ins via Slack | 30 min - 1 hour | Weekly |
|
|
||||||
| Networking and social events | 1 hour | Monthly |
|
|
||||||
| Studio development work (outside meetings) | 2-3 hours | Weekly |
|
|
||||||
| Financial support | $5,000 | |
|
|
||||||
|
|
||||||
## Self-assessment
|
|
||||||
|
|
||||||
| Activity | Time | Frequency |
|
|
||||||
|-----------------------------------|--------------------|---------------|
|
|
||||||
| Evaluate team alignment and program fit | 1 hour | One time |
|
|
||||||
| Draft plan for Stage 2 | 2 hours | One time |
|
|
||||||
| Facilitated collective evaluation | 1 hour | One time |
|
|
||||||
|
|
||||||
## Stage 2 (Months 3-6)
|
|
||||||
|
|
||||||
| Activity | Time | Frequency |
|
|
||||||
|-----------------------------------|--------------------|---------------|
|
|
||||||
| Peer Support meetings | 1 hour | Weekly |
|
|
||||||
| Asynchronous check-ins via Slack | 30 min | Weekly |
|
|
||||||
| Peer-led workshops and discussions | 2 hours | Every other week |
|
|
||||||
| Peer workshop preparation and delivery | 4 hours | One time |
|
|
||||||
| Studio development work (outside of meetings) | 2-3 hours | Weekly |
|
|
||||||
| Financial support | $20,000 | |
|
|
||||||
|
|
@ -1,179 +0,0 @@
|
||||||
---
|
|
||||||
title: Self-Assessment
|
|
||||||
description: ''
|
|
||||||
category: programs
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.231Z'
|
|
||||||
---
|
|
||||||
[Self-Assessment Document](https://docs.google.com/document/d/15og3YqFdMO3o3zr-fbYgwPHgbQnevbxZ7SVCcbjRhc8/edit?usp=drive_link) - go to the File menu and select _Make a Copy_.
|
|
||||||
|
|
||||||
# Preparing for Self-Assessment
|
|
||||||
|
|
||||||
In today's session, we will discuss the importance of self-evaluation and why taking time for it is necessary. We will cover two types of self-evaluation- **personal** and **studio** self-evaluation.
|
|
||||||
|
|
||||||
## Measuring Progress
|
|
||||||
|
|
||||||
The expression "what's not measured can't be managed" is often associated with a profit-centred mentality. But measuring things can also be good for improving communication and alignment, as well as assessing progress in a project. In this program, studios assess their values, goals, structures, resourcing, and operational flows to varying extents based on factors such as when and why they started collaborating and how far along their project is. Assessments should always clarify what is already in place for individuals and the collective.
|
|
||||||
|
|
||||||
## Building Capacity with Clarity
|
|
||||||
|
|
||||||
It's important to have clarity in order to encourage collaborative and equitable participation.
|
|
||||||
|
|
||||||
This may seem basic, but it's not always easy. When you have a clear understanding of your goals, everyone can participate more fully. This increased participation leads to building *capacity.* We often forget that the most important resource we have is people, not money. When we achieve clarity, we can increase our *capacity* for participation and work together towards the development of the co-op. The only requirement is to have enough time and space to do so.
|
|
||||||
|
|
||||||
## Making Space and Time
|
|
||||||
|
|
||||||
All of this work requires **time and space**, and you have already dedicated a lot of both in this first stage of the program. You've made time for meetings, allowed room for thinking, brainstorming, and dreaming, as well as for getting clearer strategically and practically. Some of you even brought more than one member of your studio into these sessions and workshops. Congratulations to those who were able to create that time and space!
|
|
||||||
|
|
||||||
For those who haven't yet had the chance to make that time and space, there's still time to do so. We've talked a lot about reflection, and we'll talk more about that shortly.
|
|
||||||
|
|
||||||
But reflection isn't really going to help you move forward until you write the things down.
|
|
||||||
|
|
||||||
## Writing Things Down
|
|
||||||
|
|
||||||
We have created project and studio Miro boards to help you visualize your ideas and work collaboratively. These boards allow you to see the big picture and prioritize tasks accordingly. You can identify top priority items and their dependencies, ensuring that the necessary steps are taken before moving on to the next tasks. This helps you work together more smoothly and achieve your goals faster.
|
|
||||||
|
|
||||||
When you write down your thoughts and ideas, assess and evaluate them, and continue to refine them, you are creating pathways to transparency. This is because when you work with a team, or even on your own, you may have certain thoughts and ideas that you may not even be aware of until you put them down in writing.
|
|
||||||
|
|
||||||
If one person on the team is only working on what they already know or are comfortable with, without writing it down and sharing it with the rest of the team, they may be working in a way that is not transparent to the others in the team. So, this process not only helps you refine your own ideas but also makes you more transparent and helps you collaborate better with your team.
|
|
||||||
|
|
||||||
## An Intentional Practice
|
|
||||||
|
|
||||||
This process is also vital to preventing yourselves collectively and individually from making decisions in haste or making decisions out of fear. As we discussed in the decision-making session, making decisions out of fear is never really helpful.
|
|
||||||
|
|
||||||
It often leads to having to redirect, correct, troubleshoot, or put out fires or even conflicts that have to be resolved. The time and space put aside for this is really, really key to preventing fear-based or rushed decisions that you will likely regret.
|
|
||||||
|
|
||||||
Last but not least, putting together this time and the space to do this work is about building **intentional practice** as opposed to a reactive or uninformed practice, which end up being way more work and way more costly in the long run.
|
|
||||||
|
|
||||||
## Personal Assessment
|
|
||||||
|
|
||||||
We would like you to begin with a personal assessment, which is a combination of a personal and professional assessment that requires self-reflection. We have developed this assessment over time and tested it on the proto-members of the Gamma Space co-op over a year ago.
|
|
||||||
|
|
||||||
**This is only for your personal use and no one else will see it.** The purpose of this assessment is to help you reflect and gain clarity on your personal and professional status, and to establish a baseline for yourself. It will enable you to understand where you stand in your *life*, where you are with respect to your professional work, and what you're being called to do in the role that you're playing in your studio.
|
|
||||||
|
|
||||||
All of the studio members come in with a personal baseline, and these provide a basis on which you can begin to align with each other. This helps you all get on the same page – because you've all filled out the same questions and have the same understanding.
|
|
||||||
|
|
||||||
It's important to do personal self-reflection before joining Stage 2. This will help you assess whether the program is right for you, and if it's helpful at this time. You don't have to talk about your self-reflection with others, but it's essential to go through it yourself.
|
|
||||||
|
|
||||||
By doing this self-assessment, you can answer some essential questions, like whether the program is working for you or not. If you find that it's not helpful for you, you can make an informed decision about what to do next.
|
|
||||||
|
|
||||||
Asking these questions and being self-reflexive will help you feel clearer about your decisions and identify any cognitive dissonances that you may have with the program, your studio, or even with yourself. It's essential to get with the program and ask these hard questions to make the most out of the peer accelerator program.
|
|
||||||
|
|
||||||
### Personal Assessment Overview
|
|
||||||
|
|
||||||
The personal assessment has four major sections.
|
|
||||||
|
|
||||||
The first part is focused on your project.
|
|
||||||
|
|
||||||
The second section is focused on your life.
|
|
||||||
|
|
||||||
This is not something most people are asked in job interview in a collaboration project setting.
|
|
||||||
|
|
||||||
There's always a default set of assumptions that people make: That you're ready, you have all the supports you need, here we go!
|
|
||||||
|
|
||||||
But what we have found (each of us in Gamma Space and Weird Ghosts, and many of the people that we've collaborated with over the last few years), is that if you don't have the supports or stability you need in your life, you either cannot fully participate in the project, or you put a disproportionate amount of pressure on the studio to fill all those roles for you in your life. And so this is just a bit of a reality check and a balance check.
|
|
||||||
|
|
||||||
There's also a brief section about co-op integration, which asks you some questions about your own defaults, programming, nature and your choices, priorities, and social behaviour.
|
|
||||||
|
|
||||||
Finally, there are a couple of questions about why you want to become a cooperative game studio. This is from your personal-professional perspective – once you've had a chance to reflect on those privately by yourself, you can be more clear as you enter into the next stage.
|
|
||||||
|
|
||||||
> [Self-Assessment Document](https://docs.google.com/document/d/15og3YqFdMO3o3zr-fbYgwPHgbQnevbxZ7SVCcbjRhc8/edit?usp=drive_link) - go to the File menu and select _Make a Copy_. Remember, no one else will see this – not Gamma Space, not Weird Ghosts, not other members of your team.
|
|
||||||
|
|
||||||
## Studio Assessment
|
|
||||||
|
|
||||||
After each member finishes their individual self-assessment, it's time to look at your studio assessment. **A template has been added to your studio development Miro board.** This should be completed as a collective and synchronously if possible, since discussion is a big part of the process.
|
|
||||||
|
|
||||||
If you just do it sort of by adding points individually, you're probably going to miss out on some of the nuances that people have pulled out in their personal assessment.
|
|
||||||
|
|
||||||
It's important that you do this together, and that you make some space and time for it.
|
|
||||||
|
|
||||||
We're going to step through the questions so everyone understands what these questions are.
|
|
||||||
|
|
||||||
### Step 1: Values
|
|
||||||
|
|
||||||
As you probably guessed, Step 1 is about values. We've asked you to list 3-5 value statements that your studio may employ to help further its development.
|
|
||||||
|
|
||||||
Review what you already have and see if it's still relevant, or if you need to make some tweaks based on the last few weeks' presentations.
|
|
||||||
|
|
||||||
This doesn't have to be super deep and complicated, but it should be something that the whole team agrees with.
|
|
||||||
|
|
||||||
### Step 2: Studio Structure
|
|
||||||
|
|
||||||
Take a moment to describe your current ideas around your studio structure. Just provide us with some idea of where you might be heading, what responsibilities look like, how investment might come in, how shares might impact value, and if you want to use a value accounting system.
|
|
||||||
|
|
||||||
This doesn't have to be a giant list of things – it could be a series of sticky notes, or it could be a paragraph.
|
|
||||||
|
|
||||||
### Step 3: Decision-Making
|
|
||||||
|
|
||||||
In this section, describe your current ideas around decision-making. We would like to see your thoughts at three different levels: At the co-op level, the management level, and at the production level. You might have other levels and other ways to break this down further. We just want your thoughts – there is no "right" answer.
|
|
||||||
|
|
||||||
### Step 4: Tools and Process
|
|
||||||
|
|
||||||
Describe your evaluation of how your tools satisfy and support your studio's workflows and values. Anything that you collectively have recognized, even thinking about this at a high level, would be really helpful.
|
|
||||||
|
|
||||||
How are you deploying new tools and workflows to more effectively and meaningfully achieve the work of your studio? Again, this doesn't have to be something you've really committed to yet, since you're in the early stages.
|
|
||||||
|
|
||||||
Some studios have already started implementing what they learned into their work. However, not everyone is at that stage yet. So, if you have something that you have been working on or even just an idea on how to approach this in the future, that would be great.
|
|
||||||
|
|
||||||
### Step 5: Storytelling.
|
|
||||||
|
|
||||||
How do you see storytelling as valuable to the development of your studio? And how might you deploy storytelling techniques within your studio?
|
|
||||||
|
|
||||||
During a recent session, we explored storytelling and how it can be used to make our studio more visible, knowable, and understandable. We discussed techniques like micro-journaling and how they can help document our history and decision-making processes. If you have any thoughts about this topic, please share them. Have you experimented with using your own Discord or Slack channels for this purpose? If so, please describe your experience so that we can learn from each other and improve the process if necessary.
|
|
||||||
|
|
||||||
### Step 6: Reflection
|
|
||||||
|
|
||||||
Here, reflect on any collective growth or changes in thinking that have occurred as a result of your participation in the Baby Ghosts program. It doesn't have to be a grand epiphany that has completely transformed your life. It's perfectly fine if nothing has changed significantly.
|
|
||||||
|
|
||||||
If some aspects of your thought process have been altered or have become topics of regular discussion, it would be great to hear about those changes. There may be a few different ideas based on the experiences of everyone involved, but whatever is shared will be an idea that is embraced by the entire group.
|
|
||||||
|
|
||||||
### Step 7: Stage 2 Focus
|
|
||||||
|
|
||||||
What specific areas do you want to focus on in Stage 2? This step brings everything together for the next stage of the program. *Even if you feel that there are challenges, it doesn't mean that you can't participate in Stage 2.* It may just require us to work together to find solutions. That's why it's important to be honest about your individual assessment, as some people may have specific needs and challenges that require collective solutions or rethinking.
|
|
||||||
|
|
||||||
We have discussed how this work is both iterative and recursive, which means that we'll use what we have learned so far to focus on specific areas in the next few months. These areas can be related to things we have discussed before, or they can be deep dives into decision-making processes, documentation, or specific aspects of your game, such as pitch decks or pipelines. Please take some time to think about what you want to focus on in Stage 2, as it will be customized to your specific needs.
|
|
||||||
|
|
||||||
#### Examples
|
|
||||||
|
|
||||||
- How to turn our various ideas on processes into a workflow that can help us create a prototype for a game or project we are working on
|
|
||||||
- How to create a community-based resource
|
|
||||||
- Reevaluating how we present our services online and how they impact business development.
|
|
||||||
|
|
||||||
In the new year, we will customize cohort meetings based on people's needs and interests, and studios can work with Gamma Space and Weird Ghosts folks to set individual goals and plans to achieve them.
|
|
||||||
|
|
||||||
## Ranking
|
|
||||||
|
|
||||||
At the bottom of each of these on your studio boards, you will find a rating system that allows you to rate the level of depth of the exploration on each of the subjects. This rating system will help us in improving the content. Please rate the exploration from one to five, keeping in mind that there is no wrong answer.
|
|
||||||
|
|
||||||
- The first is "Considering/Reflecting," which means you are thinking about the issue in question.
|
|
||||||
- "Discussing Collectively" means you have discussed the topic with others and made some space for it.
|
|
||||||
- "Brainstorming" means you have actively planned and worked on the issue.
|
|
||||||
- "Sifting and sorting" involves prioritizing and making decisions based on the brainstorming information.
|
|
||||||
- Finally, the fifth is creating the first draft of the documentation around the issue.
|
|
||||||
|
|
||||||
It's important to note that we don't expect everyone to have gone through all five steps. So, if you haven't reached step five, don't worry about it. This categorization is just a way to help us understand where you are in the decision-making process.
|
|
||||||
|
|
||||||
## Assessing Your Priorities
|
|
||||||
|
|
||||||
If you're feeling like you had certain priorities when you applied, such as decision-making or studio structure, and you later found out that you only had time for other things, don't worry. It's important to be honest with yourself about where you are in the process. For example, if you're still brainstorming and at stage three with your studio structure, but you've made progress with your values, acknowledge that. It's important to assess where you are in a non-judgmental way.
|
|
||||||
It's not supposed to make you feel bad or ashamed or anything like that.
|
|
||||||
|
|
||||||
It's just a reality check.
|
|
||||||
|
|
||||||
Even if we don't complete a specific task or project, we can still acknowledge the effort put into it. We can also ask ourselves how we feel about the progress we've made. Has it been helpful? Has it brought clarity to the situation? Has it helped to resolve any differences between us? Even if we haven't produced any documentation yet, this exercise can help to create alignment among the group.
|
|
||||||
|
|
||||||
So please know that if you're going through this evaluation and you find that you're trying to measure time spent, space made, and these five indicators, none of this is meant to feel bad. If it starts to feel bad or if you start to hear a fellow studio member say things that are kind of dismissive or minimizing, try and help each other to not feel that way.
|
|
||||||
|
|
||||||
Remind each other: No value judgments here. This is just an assessment.
|
|
||||||
|
|
||||||
This is something that many of us are not very good at, and some of us have never even tried before. These assessments can be unfamiliar and may trigger negative emotions, negative self-talk, or even memories of past negative experiences in school or a workplace. However, this is an opportunity to assess how these things are affecting your current project and goals. Take a moment to reflect and evaluate these factors. Let it breathe.
|
|
||||||
|
|
||||||
## Conclusion
|
|
||||||
|
|
||||||
If you feel like this is too much work, don't try to force it into a short amount of time. It's better to take the time you need, even if that means breaking the task into two sessions. If you need to talk about this with us, our studio meeting this week is a good opportunity to do so.
|
|
||||||
|
|
||||||
When discussing diagnostic vs. high-stakes assessment, it's helpful to think of it as explorative versus terminal. This is similar to what we practiced last week with low-stakes storytelling and communications. This task is also meant to be relatively low-stakes, meaning that disagreements or misalignments shouldn't result in a complete breakdown of working together.
|
|
||||||
|
|
||||||
As you discuss with each other, take the opportunity to use the Layers of Effect tool that we introduced, which involves examining the impact of dissonance or issues in the task. Give yourself the time you need to digest and understand any implications that arise from these discussions.
|
|
||||||
|
|
@ -1,112 +0,0 @@
|
||||||
---
|
|
||||||
title: Stages of Coop Development
|
|
||||||
description: ''
|
|
||||||
category: programs
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.232Z'
|
|
||||||
---
|
|
||||||
# Stages of Cooperative Development
|
|
||||||
|
|
||||||
Some teams have wondered how to tell where they are in the process of building their cooperative. This framework helps you understand the landscape of cooperative development and where Baby Ghosts' support fits.
|
|
||||||
|
|
||||||
There is no single "right" path through these stages! Studios are made of humans, and humans move at different paces and have different needs and capacities. Some studios revisit earlier work, and some jump in to multiple stages simultaneously. This framework provides orientation, not prescription.
|
|
||||||
|
|
||||||
## Stage 1: Pre-formation
|
|
||||||
### Relational and governance foundations
|
|
||||||
|
|
||||||
This stage is for building the relational infrastructure and governance clarity that will inform all future decisions about your studio.
|
|
||||||
|
|
||||||
This means:
|
|
||||||
- Values alignment - What do we stand for? How do we want to work together?
|
|
||||||
- Power and identity - Who are we as individuals? How do power dynamics show up in our team?
|
|
||||||
- Decision-making structures - How will we make decisions together? What needs consensus vs. consent vs. delegation?
|
|
||||||
- Governance principles - What kind of cooperative culture are we creating?
|
|
||||||
- Conflict navigation - How will we handle disagreements and tensions?
|
|
||||||
- Financial transparency - What are our shared expectations about money, compensation, and sustainability?
|
|
||||||
- Storytelling - How do we collectively share our values, journey, and goals with an audience?
|
|
||||||
|
|
||||||
**Most cooperatives fail due to interpersonal and values conflicts, not from lack of funding or technical skills**. This foundational work *prevents those failures, or encourages those failures to happen early* by highlighting misalignments and building collective decision-making skills from the get-go.
|
|
||||||
|
|
||||||
This is the Baby Ghosts' Peer Accelerator. The program is designed specifically for this pre-formation work. We provide:
|
|
||||||
- Structured curriculum on cooperative values and governance
|
|
||||||
- Peer support from experienced cooperative practitioners
|
|
||||||
- A community of other studios navigating similar questions
|
|
||||||
- Tools, frameworks, and reflection processes
|
|
||||||
|
|
||||||
**This work typically takes 6-12 months**, though teams may revisit these foundations throughout their studio's life.
|
|
||||||
|
|
||||||
## Stage 2: Formation
|
|
||||||
### Legal structure & incorporation
|
|
||||||
|
|
||||||
This stage translates your relational and governance work into legal structures and formal incorporation.
|
|
||||||
|
|
||||||
The work you'll do during this stage includes:
|
|
||||||
- Choosing a specific legal structure (worker cooperative, non-profit cooperative, share corporation, hybrid, etc.)
|
|
||||||
- Understanding jurisdiction-specific requirements
|
|
||||||
- Creating bylaws that reflect your governance principles AND meet legal requirements
|
|
||||||
- Filing articles of incorporation
|
|
||||||
- Setting up banking, accounting systems, and tax structures
|
|
||||||
- Understanding compliance requirements
|
|
||||||
|
|
||||||
*This comes after pre-formation* because your bylaws and legal structure should reflect the values and governance principles you've already clarified. Trying to do this work without pre-formation often leads to generic bylaws that don't match how you actually want to operate.
|
|
||||||
|
|
||||||
This is NOT Baby Ghosts' expertise. We are not lawyers or accountants and cannot provide legal or financial advice about incorporation.
|
|
||||||
|
|
||||||
What we CAN do is help you understand how your pre-formation work should inform your formation decisions. We can sometimes connect you with legal and accounting professionals who specialize in cooperatives, share resources about different cooperative structures, and share what other studios in our alumni community have done.
|
|
||||||
|
|
||||||
Once you're ready, the legal formation process typically takes 2-6 months, depending on jurisdiction and complexity.
|
|
||||||
|
|
||||||
## Stage 3: Early operations
|
|
||||||
### Implementing your cooperative
|
|
||||||
|
|
||||||
This stage is all about actually living and working according to the cooperative values and structures you've created. This is where all the theory you've considered and worked on becomes practice.
|
|
||||||
|
|
||||||
During this stage, you'll run meetings using your decision-making structures, explore financial transparency practices, and navigate your first major conflicts with your processes. It also involves building sustainable routines for your team, managing your first major revenue/projects, and adjusting your governance. Having bylaws on paper is very different from living them in practice. Most cooperatives discover they need to refine their structures once they're actually using them.
|
|
||||||
|
|
||||||
At this stage, Baby Ghosts can provide informal alumni support. After completing our program, you remain in our Slack community where you can ask questions in your cohort or any community channel, check in on other studios' channels to learn from their experiences, attend ongoing workshops and social events, and access our growing resource library.
|
|
||||||
|
|
||||||
*This is NOT formal structured support, but peer-to-peer learning and community care!*
|
|
||||||
|
|
||||||
Expect this stage to last 1-2 years of learning and adjustment as you find your footing.
|
|
||||||
|
|
||||||
## Stage 4: Mature operations
|
|
||||||
### Established cooperative
|
|
||||||
|
|
||||||
Your cooperative has established rhythms, processes that work, and the ability to navigate challenges. You're focused on sustainability and impact and way past figuring out the basics.
|
|
||||||
|
|
||||||
This is the time you might be:
|
|
||||||
- Onboarding new members
|
|
||||||
- Doing *long-term* financial planning
|
|
||||||
- Further refining your governance (yes, this is a neverending process!)
|
|
||||||
- Contributing to the broader cooperative movement
|
|
||||||
- Maintaining alignment as team/projects change
|
|
||||||
|
|
||||||
Mature studios sometimes:
|
|
||||||
- Serve as Peer Supports for new cohorts
|
|
||||||
- Share case studies and learnings
|
|
||||||
|
|
||||||
## Understanding where you are
|
|
||||||
|
|
||||||
**If you're currently in the Baby Ghosts Peer Accelerator:**
|
|
||||||
- ***You are in Stage 1: Pre-Formation***
|
|
||||||
- This is the right time to be figuring out values, decision-making, and governance
|
|
||||||
- It's **NORMAL** to not have clarity yet on legal structures or bylaws
|
|
||||||
- The work you're doing now will make formation and operations much smoother
|
|
||||||
|
|
||||||
**If you're wondering, "When do we incorporate?"**
|
|
||||||
- There's no fixed timeline
|
|
||||||
- Some studios incorporate during or right after the program
|
|
||||||
- Some studios take 1-2 years of pre-formation work before incorporating
|
|
||||||
- Some studios decide a cooperative structure isn't right for them (and that's okay!)
|
|
||||||
|
|
||||||
**If you're feeling lost about "the steps":**
|
|
||||||
- This is less like following a recipe and more like learning a language
|
|
||||||
- Each studio's path looks different based on your context, capacity, and goals
|
|
||||||
- The "roadmap" is clarifying your values and building governance skills, not checking boxes
|
|
||||||
|
|
||||||
**If you're still unclear about where you are in your journey or what work you should be focusing on**, bring these questions to:
|
|
||||||
- Your Peer Support in your 1:1 meetings
|
|
||||||
- Program coordinators (Jennie & eileen)
|
|
||||||
- Your cohort peers who may be navigating similar questions
|
|
||||||
|
|
@ -1,280 +0,0 @@
|
||||||
---
|
|
||||||
title: Structures for Impact
|
|
||||||
description: ''
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.223Z'
|
|
||||||
---
|
|
||||||
# Choosing an impactful business structure
|
|
||||||
|
|
||||||
|
|
||||||
_Please note: The information in this article is specific to Canadian companies!_
|
|
||||||
|
|
||||||
When setting up a studio, one of the first – and maybe scariest – decisions you'll make is choosing the right business structure. This structure will affect your studio's **governance**, **funding options**, and **growth potential**. Remember that project-based funders rarely care about your studio's structure or sustainability. We've seen them push for hurried incorporation to facilitate their funding. Before you jump to incorporate, consider your studio's long-term goals, where you might seek funding, and the impact you want to make in the world.
|
|
||||||
|
|
||||||
If you've already incorporated or worry about needing to before you've had the time to think through all of the possibilities and implications, approach this as if you have lots of time and have not made any irreversible decisions yet.
|
|
||||||
|
|
||||||
Of course, the requirements of the big government funders in Canada may influence your decision, but it should not be the only input, and we want you to have a complete picture of your options.
|
|
||||||
|
|
||||||
Weird Ghosts believes indie studios should **establish their companies in alignment with their social purpose** – instead of being driven by project funding, aka the "old normal" that leaves no room for new founders to create a solid foundation.
|
|
||||||
|
|
||||||
## Results flow
|
|
||||||
|
|
||||||
A [results flow](/articles/results-flow) is a roadmap describing the impact you want to make and the activities you'll need to carry out to achieve it. If you have the chance, draft your results flow before deciding on the form of your studio. It may make your choice a lot easier.
|
|
||||||
|
|
||||||
In addition to helping you identify the most appropriate business structure, your results flow also:
|
|
||||||
|
|
||||||
- Helps you create your impact measurement framework (IMF), allowing you to monitor progress toward your key outcomes
|
|
||||||
- Forms the foundation of your business plan and helps you develop and evaluate your business model
|
|
||||||
|
|
||||||
So, super handy if you're preparing to pitch investors or publishers!
|
|
||||||
|
|
||||||
## Blended returns
|
|
||||||
|
|
||||||
Blended returns combine financial and social returns and are at the heart of Canada's $755 million [Social Finance Fund](https://socialfinance.fund). You have a few options when selecting a business structure that will provide blended returns and set you up to access social financing:
|
|
||||||
|
|
||||||
::list
|
|
||||||
- **For-profit** structures like socially responsible corporations
|
|
||||||
- **Co-operative** social ventures
|
|
||||||
- **Non-profit** organizations and co-ops
|
|
||||||
- **Charities**, and social purpose businesses
|
|
||||||
::
|
|
||||||
|
|
||||||
Whichever path you choose, remember that incorporation will affect your governance structure and your ability to secure investment and other types of funding. It also may preclude you from accessing certain kinds of investment. For example, non-profits cannot offer share capital and will typically need to look to debt financing. And a for-profit that values social return over financial may be a hard sell to traditional investors.
|
|
||||||
|
|
||||||
Whether you decide to incorporate as a for-profit company, a non-profit, or a co-op, demonstrating both financial and social returns will be a requirement if you intend to seek social finance investment.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
The purpose of a corporation is to generate financial returns. Looking at different types of corporations on a spectrum, you'll find "pure" commercial operations on one end. The only thing those shareholders and investors care about is making money. They will not care about a social impact report.
|
|
||||||
|
|
||||||
Next, we have the socially responsible corporation. It's hard to find a company in 2023 that doesn't at least pretend to have a corporate social responsibility policy… because branding and reputation. Lockheed Martin? Even they "give back" to the community by [training underprivileged youth](https://www.lockheedmartin.com/en-ca/features/social-impact-stem.html) so that they may someday, uh, work on hypersonic missiles and fighter jets.
|
|
||||||
|
|
||||||
If we keep moving to the right of the diagram, at the end we find that even charities can start a social venture, as long as it aligns with its mandate and strict government regulations.
|
|
||||||
|
|
||||||
While demonstrating financial _and_ social returns sounds like a lot – and it is a bigger job than non-social-purpose companies have – the benefit of social finance is that it is structured to be easier for mission-driven organizations to access and manage. So, for example, you will get lower interest rates, more flexible repayment schedules, and possibly zero-interest recoverable grants. Work with investors or funders who fundamentally understand this.
|
|
||||||
|
|
||||||
If you can demonstrate solid financial returns, equity investment from a social investor may be possible. But you will have a hard time capturing the interest of a venture capitalist (VC) without the potential for a very high return on investment.
|
|
||||||
|
|
||||||
> You may be thinking, "We probably won't be able to generate a financial rate of return at or above market."
|
|
||||||
> Hey, that's okay! You can focus on investors and partners who will structure a deal with you that isn't equity-based, like low-interest loans or royalties — or Weird Ghosts' [SEAL agreement](https://weirdghosts.ca/blog/how-we-make-investments)
|
|
||||||
|
|
||||||
|
|
||||||
## Understanding SPOs
|
|
||||||
|
|
||||||
You may be a social purpose organization (SPO) if you are working on advancing **social, cultural, or environmental objectives** – such as transforming an industry or making an economic impact within a specific community. To access funding from social finance investors, such as Weird Ghosts, you must put impact at the **core** of your mission and operations.
|
|
||||||
|
|
||||||
You're here because you're interested in changing what a "normal" video game studio or startup looks like. There's no set template!
|
|
||||||
|
|
||||||
So before getting into the different form options for your SPO, take a minute to think about the following:
|
|
||||||
|
|
||||||
#### Intention and motivations
|
|
||||||
|
|
||||||
**Which takes precedence – profit-making activities or furthering a social purpose?**
|
|
||||||
|
|
||||||
While the goals of making money and furthering a social purpose are not mutually exclusive, their relative importance will influence the optimal structure as they will often conflict during your studio's life.
|
|
||||||
|
|
||||||
::alert{type="info"}
|
|
||||||
**Hint:** look at outcomes on your **results flow.** Which is emphasized?
|
|
||||||
::
|
|
||||||
|
|
||||||
Knowing what's most important is critical to choosing a structure that either gives you the flexibility to respond to financial opportunities or ensures your social purpose remains central in decision-making.
|
|
||||||
|
|
||||||
Not-for-profit and unincorporated social ventures **cannot seek equity financing** and may experience other barriers once the venture grows.
|
|
||||||
|
|
||||||
#### Control
|
|
||||||
|
|
||||||
**Are you open to sharing control? Can you operate and fund the studio independently?**
|
|
||||||
|
|
||||||
Members in a co-op and investors split control – and priorities may conflict.
|
|
||||||
|
|
||||||
For-profit companies are responsible to shareholders, which can cause pressure to favour financial returns. Because there is no legal way to enforce a social purpose within a for-profit corporation, maintaining a focus on social benefit depends on successive leadership sharing the goals of the original founders.
|
|
||||||
|
|
||||||
In a co-op, founding member(s) do not maintain control. Co-ops are legally required to operate on a co-operative basis so they can talk about their community-benefit purpose, but maintaining member participation over time can make management more challenging.
|
|
||||||
|
|
||||||
Non-profits won't have investors with conflicting priorities because they do not issue share capital. Social finance investors offer affordable repayable capital and expect social return on investment (ROI) -- and to be repaid.
|
|
||||||
|
|
||||||
#### Market
|
|
||||||
|
|
||||||
**What is the profit potential based on the services and products you intend to provide? Who will be your primary customers – funders or end-users?**
|
|
||||||
|
|
||||||
If you focus on providing services such as design and development, your profit potential is different from a product-focused studio.
|
|
||||||
|
|
||||||
If you expect it to be relatively easy to be profitable, incorporating as a for-profit makes more sense regardless of how your money is spent. If, by contrast, you expect the venture to be challenging to sustain without donations and grants, then a non-profit structure may be more appropriate.
|
|
||||||
|
|
||||||
Non-profits are subject to restrictions on the types of business activities they may carry out. The CRA does not want a non-profit to compete with products and services provided by for-profit organizations.
|
|
||||||
|
|
||||||
#### Capital
|
|
||||||
|
|
||||||
**Will you seek investors expecting a financial return? Can you rely on debt financing? Do you plan to reinvest profits or donate them?**
|
|
||||||
|
|
||||||
The funds needed at start-up may influence the structure of the venture.
|
|
||||||
|
|
||||||
Greater needs for capital and financing flexibility — and in particular, the need to be able to issue share capital — will suggest a for-profit structure.
|
|
||||||
|
|
||||||
Non-profit organizations and charities cannot generally access share capital and must rely on debt financing. If you do not hold assets you can borrow against, it may be hard to obtain commercial loans. (Upside is tax exemptions, but this is not super useful if you do not hold assets or wish to present your studio as non-profit.)
|
|
||||||
|
|
||||||
Co-ops must operate as close to a cost-recovery basis as possible. Co-ops are generally designed on the assumption that the majority of the organization's capital will come from the members. However, co-ops are permitted to issue shares and loans to non-members, with the promise of at least a limited financial return on investment. This aids in attracting capital from outside the membership structure if necessary.
|
|
||||||
|
|
||||||
## Hybrid
|
|
||||||
|
|
||||||
Weirdly enough, "social ventures" and "social enterprises" are not real things! Sort of…
|
|
||||||
|
|
||||||
Despite the [Social Finance Fund](https://www.canada.ca/en/employment-social-development/news/2023/05/government-of-canada-officially-launches-the-755m-social-finance-fund-to-advance-the-growth-of-the-social-finance-market-in-canada.html) launching in May 2023, plus a couple decades of social enterprise scholarship and practices, "social enterprise" is not a legal structure in Canada. In fact, current federal and provincial legislation doesn't offer _any_ legal structure combining the perks of both the for-profit and non-profit corporations.
|
|
||||||
|
|
||||||
But we have lots of options and flexibility when it comes to defining how our companies operate, get financing, and grow sustainably, ethically, and in line with our communities' needs.
|
|
||||||
|
|
||||||
And hybrid entities do exist:
|
|
||||||
|
|
||||||
- In B.C., you have the [Community Contribution Company](https://news.gov.bc.ca/releases/2013FIN0067-001172) (CCC or C3) and [Benefit Company](https://www2.gov.bc.ca/assets/gov/employment-business-and-economic-development/business-management/permits-licences-and-registration/registries-packages/information_package_for_benefit_company.pdf) (PDF).
|
|
||||||
- In N.S., you have the [Community Interest Company](https://novascotia.ca/just/regulations/regs/ciccomminterest.htm).
|
|
||||||
- And across the country, [B Corporation](https://www.bcorporation.net/en-us/) certification is also an option.
|
|
||||||
|
|
||||||
These hybrid structures come with additional reporting obligations and may require amendments to your articles of incorporation. Restrictions on the use of capital can also hamper your funding and financing options.
|
|
||||||
|
|
||||||
## Co-op
|
|
||||||
|
|
||||||
Co-operatives, or co-ops, are a unique business model distinct from business corporations. They were originally intended as a way for people to share resources and are designed to promote equity, create a healthy work environment, and support collaboration.
|
|
||||||
|
|
||||||
> "A co-operative is a legally incorporated corporation that is owned by an association of persons seeking to satisfy common needs such as access to products or services, sale of their products or services, or employment."
|
|
||||||
> – [Innovation, Science and Economic Development Canada](https://ised-isde.canada.ca/site/cooperatives-canada/en/information-guide-co-operatives##what)
|
|
||||||
|
|
||||||
**They can be for-profit or non-profit**, and their goal is to minimize business costs to allow more people to participate. You can incorporate your co-operative either federally or provincially/territorially – but there are some geographical differences in regulations (especially in Quebec).
|
|
||||||
|
|
||||||
Even if a co-op is non-profit, it can still charge for its products and services. However, any profits made must be reinvested into the business.
|
|
||||||
|
|
||||||
Four broad categories differentiate co-ops from share (business) corporations: ownership, directors, voting, and profit.
|
|
||||||
|
|
||||||
#### Ownership
|
|
||||||
|
|
||||||
- **In a co-op, shares cannot change in value.** When members join, they buy shares at par value, which doesn't change even if the business is wildly successful (or fails).
|
|
||||||
- **Membership shares can't be transferred as freely as in a business corporation.** A co-op share cannot be sold to anyone else and can only be bought back by the co-op at the same value the member originally bought the share at.
|
|
||||||
- **Ownership is independent of value.** The amount of ownership is determined by the number of membership shares held.
|
|
||||||
- **Members sell their shares back when exiting.** If a member wants to exit a co-op, their share must be repurchased at the same value the member initially bought it at. If the co-op doesn't have enough money, they can enter into an agreement where the co-op pays you out over time.
|
|
||||||
|
|
||||||
(In contrast, a business corporation is owned by shareholders who invest money and receive shares in return. These shares can increase or decrease in value depending on the business's financial health. Shareholders have voting power proportional to the number of shares they hold.)
|
|
||||||
|
|
||||||
#### Directors
|
|
||||||
|
|
||||||
The number of directors required varies across Canada, typically three. Directors are responsible for the day-to-day governance of the co-op and must always act in its best interests.
|
|
||||||
|
|
||||||
#### Voting
|
|
||||||
|
|
||||||
In a co-op, the core value is "one member, one vote," no matter how many shares are held. This contrasts with a business corporation, where the number of votes can increase with the number of shares held.
|
|
||||||
|
|
||||||
In a federal worker co-op, each member has to be an employee. There's also a rule that 75% of the membership must be employees, but the other 25% can be investment-type shares issued by the co-op.
|
|
||||||
|
|
||||||
#### Profit
|
|
||||||
|
|
||||||
When a co-op makes a profit and distributes it to its members, it's called a "patronage return" — similar to a dividend. Someone who has five membership shares will be entitled to more surplus than someone with one membership share. But again, holding more membership shares does not increase your number of votes.
|
|
||||||
|
|
||||||
A surplus remains after all costs, including operating and general reserve (and bonuses or patronage returns if you choose), have been covered.
|
|
||||||
|
|
||||||
While co-ops can accept investments, they're traditionally not profit-oriented entities. This lack of a profit-driven structure and limited shares can restrict growth and deter some investors. Be sure you're okay with that.
|
|
||||||
|
|
||||||
> That being said… we believe co-ops are _the_ worker-centric structure of choice, and we’re proud to have invested in Montreal-based worker co-op [Lucid Tales](https://www.lucid-tales.com). And our first Baby Ghosts grantee was Winnipeg-based co-op [Something We Love](https://somethingwe.love)!
|
|
||||||
|
|
||||||
#### Questions to ponder
|
|
||||||
|
|
||||||
When thinking about forming a co-op, consider the following:
|
|
||||||
|
|
||||||
- How will you handle surpluses at the end of the year?
|
|
||||||
- How will you manage the governance of your co-op?
|
|
||||||
- What happens when someone wants to exit the co-op?
|
|
||||||
- How will you handle disputes?
|
|
||||||
|
|
||||||
A [thorough guide to federally incorporating a co-op](https://ised-isde.canada.ca/site/cooperatives-canada/en/information-guide-co-operatives##how), and contact information for provincial associations can be found on the ISED site. If you‘re in Quebec, you can find more information at [Ministère de l'Économie, de l'Innovation et de l'Énergie](https://www.economie.gouv.qc.ca/objectifs/informer/cooperatives/) or get help from le [Réseau Co-op](https://reseau.coop/).
|
|
||||||
|
|
||||||
## Non-profit
|
|
||||||
|
|
||||||
Non-profits and charities can be structured in a few different ways. The most common is to be a _corporation without share capital_. They have no shares or shareholders but members who vote for directors. Members don't get dividends and (usually) don't get any of the corporation's assets if it dissolves.
|
|
||||||
|
|
||||||
These types of corporations _must have a social purpose_. **All** of their activities must support this purpose.
|
|
||||||
|
|
||||||
There are laws about how charities and non-profit organizations can earn money:
|
|
||||||
|
|
||||||
- Canada's Income Tax Act says these organizations can only do certain activities to make money if they want to stay tax-exempt.
|
|
||||||
- If a charity carries on a business that doesn't relate to its purpose (unless run mainly by volunteers), it can face penalties, including losing charity status.
|
|
||||||
- If a charity or non-profit wants to make money to support its mission, it _may_ have to use a separate business corporation to do the activities. [Learn more.](https://www.canada.ca/en/revenue-agency/services/charities-giving/charities/policies-guidance/policy-statement-019-what-a-related-business.html)
|
|
||||||
|
|
||||||
## Sole proprietorships & partnerships
|
|
||||||
|
|
||||||
A sole proprietorship is an unincorporated business owned by a single individual. The business and the operator are the same.
|
|
||||||
|
|
||||||
It's the simplest (and therefore most popular) structure, with minimal or no setup requirements. Your business losses can be deducted from your other sources of personal income. However, this structure only works for a solo dev. You'll face **unlimited personal liability** and challenges raising money. Bootstrapping (using your own money) or loans are possible sources of startup funding.
|
|
||||||
|
|
||||||
A partnership is the same as a sole proprietorship, except it's between two or more people. General partners also risk **unlimited personal liability**, and you'll have difficulty finding appropriate financing.
|
|
||||||
|
|
||||||
|
|
||||||
## Business corporation
|
|
||||||
|
|
||||||
A business corporation is a standalone legal entity with rights and responsibilities (just like individuals). They can own property and enter into contracts. They are owned by shareholders and operated by directors and officers.
|
|
||||||
|
|
||||||
Shareholders are not responsible for a corporation's debts. They benefit from lower corporate tax rates and can raise capital more easily than partnerships or sole proprietorships. Unfortunately, business corporations are more expensive to form and operate because of stringent regulatory requirements.
|
|
||||||
|
|
||||||
A business corporation's structure includes the following:
|
|
||||||
|
|
||||||
- **Shareholders**: Own at least one share of a corporation's stock. Collectively, they own the corporation and get to vote on key business decisions. There can be different classes of shares and shareholders.
|
|
||||||
- **Directors**: Elected by shareholders and are responsible for operating and managing the business.
|
|
||||||
- **Officers**: Act on behalf of the directors to operate and manage the business. They must be registered and are almost always employees of the corporation.
|
|
||||||
|
|
||||||
A major limitation of a business corporation is that there is **no real way to build social purpose** into the governing documents. Successive directors may change or eliminate the social purpose your founders established.
|
|
||||||
|
|
||||||
## None of these is quite right…
|
|
||||||
|
|
||||||
If none of the existing legal structures perfectly fits your needs, you could use ancillary agreements, policies, and covenants. Your values, ethics, and core principles are also a governance layer on top of your business structure. You can combine different structures and governance models to create a business that aligns with your ultimate outcome.
|
|
||||||
|
|
||||||
Some questions to ask yourself if you go this route:
|
|
||||||
|
|
||||||
- Is your governance model easy to understand and accessible for diverse stakeholders?
|
|
||||||
- How do you make decisions?
|
|
||||||
- Who has a right to participate or vote?
|
|
||||||
- Who represents whom?
|
|
||||||
- How can you solve conflicts?
|
|
||||||
- How do you communicate your governance? Who needs to know?
|
|
||||||
|
|
||||||
#### Some inspirational alternatives
|
|
||||||
|
|
||||||
- [Distributed co-operative (DisCo)](https://disco.coop)
|
|
||||||
- [Platform co-operative](https://platform.coop/)
|
|
||||||
- Community-centered business, where stakeholders who don't own shares directly can participate in governance, such as through a stockholding trust designed to represent their interests. [More info](https://georgetownlawtechreview.org/wp-content/uploads/2021/05/Mannan-Schneider-Exit-to-Community-5-GEO.-L.-TECH.-REV.-1-2021.pdf) (PDF).
|
|
||||||
- For-profit corporation with co-operative decision-making policies… wait, what?!
|
|
||||||
|
|
||||||
#### A co-operative corporation?
|
|
||||||
|
|
||||||
Suppose you decide to form a business corporation but wish you had the benefits of collective decision-making. In that case, you can structure it so that everyone is an equal owner with an equal say in the company – nothing prevents a corporation from having employee shares. This flexibility allows a corporation to operate similarly to a co-op without being legally bound to a co-op's structure. Some examples of corporate-co-op studios include Future Club[^2] and KO-OP[^3] (in the process, as of 2023, of converting to a Quebec co-op).
|
|
||||||
|
|
||||||
In your shareholders' agreement, you can include language that prioritizes collectivity, outlines dispute resolution procedures, and details processes for managing a voting deadlock.
|
|
||||||
|
|
||||||
You could also consider encouraging your employees to form a union! 👀
|
|
||||||
|
|
||||||
**Healthy studio culture can be promoted in any organization.**
|
|
||||||
|
|
||||||
> Tip: Establish a founders' agreement before your company is officially formed. That way, you have processes in place for dispute resolution at every stage of your studio's development.
|
|
||||||
|
|
||||||
[^2]: [A Worker-Owned Game Studio Rises from the Wreckage of Skullgirls Developer](https://www.vice.com/en/article/7kpymg/a-worker-owned-game-studio-rises-from-the-wreckage-of-skullgirls-developer)
|
|
||||||
[^3]: [Ko-Op by Name, Co-Op by Nature](https://www.gamesindustry.biz/ko-op-by-name-co-op-by-nature)
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
## Exit strategies
|
|
||||||
|
|
||||||
For traditional startups, the exit is _everything!_ It's the key outcome founders seek. But that's not you. 😉
|
|
||||||
|
|
||||||
It might seem weird and pessimistic to plan for the end of your studio. But it is part of how you can take responsibility for the lifecycle of your studio. Who benefits when your studio is bought by Streamberry? Who ends up with your IP and community infrastructure?
|
|
||||||
|
|
||||||
Here are some situations where you might face an exit:
|
|
||||||
|
|
||||||
- Someone might want to take over the enterprise (maybe even a co-founder).
|
|
||||||
- You might be so successful you want to sell off the business and start something new.
|
|
||||||
- You might want to retire! haha
|
|
||||||
- If the app you make or service you provide becomes something your community depends on, you might want to transfer ownership to your community. One option is an "[exit to community](https://www.colorado.edu/lab/medlab/exit-to-community)," an intentional plan where ownership is transferred to a community that manages and benefits from it. This means the studio stays in the hands of those who built it.
|
|
||||||
|
|
||||||
Investors will want to know how you think about your exit strategy. Especially if your financial returns are not high, they will work with you to structure a deal that considers this. Please put it in your business plan.
|
|
||||||
|
|
||||||
|
|
||||||
## A final note
|
|
||||||
|
|
||||||
Our best advice? **Go get legal advice!** We love and recommend Alex Chun at [Dickinson Wright](https://www.dickinson-wright.com/our-people/alexandria-chun?tab=0) in Ontario. If you need a referral for another province/territory, [please get in touch](mailto:hello@weirdghosts.ca), and we'll do our best to source one through our networks!
|
|
||||||
|
|
@ -1,162 +0,0 @@
|
||||||
---
|
|
||||||
title: Telling Your Story
|
|
||||||
description: ''
|
|
||||||
category: studio-development
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Weird Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:52:42.625Z'
|
|
||||||
---
|
|
||||||
# Telling Your Story
|
|
||||||
|
|
||||||
_developed by datejie cheko green_
|
|
||||||
|
|
||||||
We invite you to consider the question, "As a creative person, why do you do what you do?"
|
|
||||||
|
|
||||||
As you answer this, you'll find yourself *storytelling*.
|
|
||||||
|
|
||||||
Let's talk about telling the story of your studio.
|
|
||||||
|
|
||||||
## Overview
|
|
||||||
|
|
||||||
A studio is a group of people who collaborate with each other and have a relationship with one another. Sometimes, people in a studio want to express themselves, tell stories, or create images that represent their identities. Some people want to create change for others who may not resemble them. This is called "solidarity consciousness."[^1]
|
|
||||||
|
|
||||||
The notion of solidarity consciousness is framed in terms of relationships – but the first relationship we have to take care of is with ourselves, and we can expand from there.
|
|
||||||
|
|
||||||
Through your storytelling about why you do what you do as a creative, you likely expressed some kind of value that you truly believe in that's core to your sense of purpose and creativity. Our studio relationships are based on values, and we need to put our values into practice and then practice that over and over again.
|
|
||||||
|
|
||||||
## Storytelling as a Practice
|
|
||||||
|
|
||||||
We can approach telling our studio story as a practice of micro-storytelling. This is not something that most of us think about or deconstruct – even people who are used to telling stories all the time.
|
|
||||||
|
|
||||||
Journaling is a daily practice that allows for an iterative and daily approach to self-exploration, allowing us to explore ourselves in small doses.
|
|
||||||
|
|
||||||
By using our values as our touchstone, we can consistently prioritize building relationships with others. We interact with people on a daily basis, and even small interactions can contribute to the larger goal of creating a community. By engaging in iterative storytelling and practicing this skill, we accumulate experiences and ideas as we make our games. This development process can be enjoyable and rewarding!
|
|
||||||
|
|
||||||
We have become documentation-ready by practicing journaling. And by journaling, we don't just mean personal journaling but also **collaborative journaling** for our studio. By keeping our journal entries in a digital space where they won't be deleted or lost, like disappearing messages on our phones, we are documenting our progress as we go. This makes us prepared and ready for any future documentation needs.
|
|
||||||
|
|
||||||
Journaling allows us to:
|
|
||||||
|
|
||||||
There are two parts to each aspect of storytelling: naming and engaging.
|
|
||||||
|
|
||||||
## Who
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
Naming *who* involves identifying the storytellers. In our studio, all members are storytellers, not just the marketing person. The goal is to share the stories of each person's labour, engagement, interpretation of values, expression of values, and practice of values. The audience starts with us, the studio members and collaborators, and then ripples out to the community and players.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
Engaging with the audience is about building relationships. Communication is key to building relationships. We've all experienced relationships that fell apart due to poor communication, miscommunication, or a lack of communication. On the flip side, we've also experienced beautiful relationships where communication was valued, prioritized, and practiced, even during difficult times. Engaging with the audience means practicing communication to build relationships.
|
|
||||||
|
|
||||||
This process obliges us to attribute the story to the teller. Collaborative journaling requires finding the source of the information and giving proper credit.
|
|
||||||
|
|
||||||
## What
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
When it comes to communication, especially on social media, we need to be honest with ourselves that a lot of what we engage in today is not true two-way communication. Some of it is asynchronous, but a lot of it is just sending out messages without any real interaction.
|
|
||||||
|
|
||||||
Authentic communication and storytelling require a call and response. It's not just about one person talking and others listening, but rather a back-and-forth exchange of ideas and thoughts.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
We initiated this article with a question, and you responded. In a group setting, you can engage others about your thoughts and motivations. That's the beauty of communication and storytelling – lots of listeners and lots of reflection back. By offering your thoughts and being present, you can show that you care and are engaged in the dialogue.
|
|
||||||
|
|
||||||
Writing is also an important part of communication. It's not just about putting words on paper but instead writing with the intention of being heard and wanting someone to respond. Rewriting and recreating what we write helps us build the story of our studio. We can reflect on what we wrote on Monday, think about it on Tuesday, and then come back to it on Wednesday with new ideas or changes. This process helps us create a more cohesive and engaging story.
|
|
||||||
|
|
||||||
## When
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
*When* can be challenging, as it may be something that few of you have considered before in the context of your studio - daily journaling. The word "journal" comes from "dyeu-," which means "today" or "one day." The important thing is to make it a daily habit.
|
|
||||||
|
|
||||||
Doing journaling in daily doses means that you can allow yourself to work in small chunks – it doesn't have to become everything, it doesn't have to become overwhelming. But it does have to be a discipline of daily practice.
|
|
||||||
|
|
||||||
Some recommendations say to start the day with journaling, which helps you to set the agenda for the day. At the end of the day, it offers you an opportunity to reflect back on the day.
|
|
||||||
|
|
||||||
It's truly an amazing practice to be able to distill your thoughts and emotions. When you can do it in a collaborative and shared way, such as typing it out, speaking it into a voice note, or drawing it into a visualization, you not only learn about yourself but also about your fellow studio members.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
Engaging daily means that you have time for incremental change. It's just tiny doses, so you can iterate and tweak daily. This also gives you time to ask for help and receive it. If you wait and hold onto something, it can become a bigger issue than it really is. Then, it becomes difficult to ask for help and even more embarrassing to receive it. But if we work on it daily, it becomes a routine, and we have time to become clear about our messaging. As we go through it, we grow, shift and change. We realize that something that was a goal two months from now can be achieved sooner if we work on it daily.
|
|
||||||
|
|
||||||
## Where
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
This is very, very important: You want to begin your creative journey in safe, shared studio spaces that are visible only to your team and not accessible to the public. This is not a platform for public journaling but rather a low-stakes, internal space that is secure and private.
|
|
||||||
|
|
||||||
Once you have established a safe physical space, you can move on to creating safe online spaces that you own and control, such as a website or a newsletter. This ensures that your work is not misrepresented or taken out of context by others.
|
|
||||||
|
|
||||||
After you have refined your work and messaging, you can then take it to a public space, such as a pitch, press release, or social media platform. By following this process, you can ensure that you are fully prepared to share your work with the world in a way that is safe, effective, and true to your vision.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
Always ensure that it is dialogical – in a conversation, there is a speaker and a listener who respond to each other. Start with low-stakes topics and gradually move towards high-stakes ones. This order is important but often overlooked. We need to rethink the way we use technology in our conversations.
|
|
||||||
|
|
||||||
## Why
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
Collaborative journaling is a great practice to improve your writing skills. It's not about achieving perfection but rather striving for clarity. Writing is a process of *rewriting*, and it may seem painful at first, but it's a low-stakes practice that can be improved through open collaboration, such as in Slack or Discord channels. This kind of practice builds mutual understanding and trust, which are essential in preventing conflicts, hurt, fear, and trauma.
|
|
||||||
|
|
||||||
To express yourself effectively, **ask for feedback** and **try to understand how others perceive your message**. If you're not being understood, break down your message into simpler terms.
|
|
||||||
|
|
||||||
Building trust is everything in creating caring relationships, which make way for healing. This is especially important in the context of game development spaces, which can be toxic and traumatizing. It's important to be kind to ourselves and each other and to practice mutual understanding and trust.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
Our purpose in exploring *why* is to regenerate healthy environments and practices. These are the things that create clarity.
|
|
||||||
|
|
||||||
We're not doing it as a one-time thing; we're doing it on a daily basis. And that's storytelling. Storytelling creates understandings that create healthy environments. And when we do it regularly, we regenerate that very healthy environment. It's like feeding the soil. And it definitely feeds our spirits.
|
|
||||||
|
|
||||||
Documenting the journey to clarity leads to great stories. That means the daily practice gets documented; the journey to the same clarity, care, and understanding gets documented.
|
|
||||||
|
|
||||||
## How
|
|
||||||
|
|
||||||
The "how" is always tricky because it can feel deeply personal. We all have our quirks. We all have our preferences; we all have ways that things work for us in certain ways. But we're also all very creative people. And in games, most of us are good at troubleshooting.
|
|
||||||
|
|
||||||
### Naming
|
|
||||||
|
|
||||||
Naming the "how" means trying to create a consensus on how all of the studio members are going to participate in this collaborative journaling practice. What kind of bite-size contribution can each member make? What kind of contribution would make them *happy* to make? What would bring joy? And how can we find a way to be dedicated to this? Once you know, share it with your team – it could be helpful!
|
|
||||||
|
|
||||||
These generate daily rituals that are centred around the studio's values. We bring the values back in because they are the absolute touchstone of why you are collectively doing what you're doing.
|
|
||||||
|
|
||||||
### Engaging
|
|
||||||
|
|
||||||
There are many tools available. If you're a developer, you may have the ability to create your own tools. However, tools are only useful if they support relationships and growth. If tools *replace* relationships, they can stymie growth.
|
|
||||||
|
|
||||||
Planning your documentation in advance can help ensure that it serves as a valuable source of information and stories that contribute to a longer, more complete, and concise narrative. Those bits and bytes of information become available to you to analyze. There's always an app for that part, right?
|
|
||||||
|
|
||||||
This narrative forms the building blocks for your pitch to funders, audiences, collaborators, and communities. It also informs reporting, such as an annual report, financial report to an investor, or to your future self. Think of it as reporting forward. If you are planning ahead, you are reporting to your successor.
|
|
||||||
|
|
||||||
Who do we want to support and promote while we progress? This way, as we build our cooperative environment and share our stories, we also understand that if one person falls ill, someone else knows all about their contributions and can fill in. Similarly, if someone needs a break or decides to pursue a different path, someone else knows what to do, how to do it, and why it is done. This way, if someone needs to be replaced or compensated, it's clear who can take over.
|
|
||||||
|
|
||||||
## Outcomes
|
|
||||||
|
|
||||||
- The medium is the message, the process is the product
|
|
||||||
- Creates space and time for alignment of understanding
|
|
||||||
- Produces micro-documentation as the building blocks for your stories
|
|
||||||
- Builds consensus, understanding, agreement and investment in studio values
|
|
||||||
- In-studio confidence is beautiful for your creativity, and it ripples out
|
|
||||||
|
|
||||||
The medium itself conveys a message. Journaling emphasizes that the process we engage in ultimately shapes our product. Rather than being driven solely by product outcomes, this approach encourages **relationship-building**, which becomes evident in the final product/game/community you are creating.
|
|
||||||
|
|
||||||
Collective journaling creates a space for micro storytelling in low-risk settings, allowing for gradual alignment and understanding. This method yields micro documentation, forming the foundation of our different storytelling directions. It not only creates a shared understanding and consensus but also deepens each member's commitment to the studio, its relationships, and your collective values. The confidence gained within the studio improves creativity and makes a social impact on your community and beyond. This is just one approach to shaping your studio's narrative.
|
|
||||||
|
|
||||||
## Conclusion
|
|
||||||
|
|
||||||
Storytelling in game development goes far beyond the games we make. It's about the shared experiences and values of our team, woven into our studio's identity through daily practices like journaling and open communication. This approach isn't just about documenting our journey; it's about growing together and connecting with our audience in a meaningful way. By embracing this narrative, we're not only crafting games but also forging genuine connections and making an impact that echoes beyond our studio walls.
|
|
||||||
|
|
||||||
|
|
||||||
## Questions to Consider
|
|
||||||
|
|
||||||
- How do we pitch projects that are not made to create revenue?
|
|
||||||
- How do we ensure decolonial language engagement and relationships?
|
|
||||||
- How do we be authentic to ourselves, to each other, to our studio values and still communicate professionally to funders?
|
|
||||||
- How do we communicate our studio structure?
|
|
||||||
|
|
||||||
_This content was developed by datejie and [Gamma Space](https://gammaspace.ca) for a 2023 Baby Ghosts cohort presentation. We have summarized and adapted it here._
|
|
||||||
|
|
||||||
[^1]: a term coined by datejie cheko green
|
|
||||||
|
|
@ -1,72 +0,0 @@
|
||||||
---
|
|
||||||
title: TikTok Meeting Notes
|
|
||||||
description: 'TikTok Marketing Meeting: July 3, 2023'
|
|
||||||
category: strategy
|
|
||||||
tags: []
|
|
||||||
accessLevel: public
|
|
||||||
author: Baby Ghosts
|
|
||||||
publishedAt: '2025-11-10T10:42:09.230Z'
|
|
||||||
---
|
|
||||||
# TikTok Marketing Meeting: July 3, 2023
|
|
||||||
|
|
||||||
## Questions and answers:
|
|
||||||
|
|
||||||
- **Is it valuable to edit things inside or outside of TikTok?**
|
|
||||||
- Can edit in InShot or Premiere or CapCut whatever you’re most comfy with.
|
|
||||||
- But use the TikTok tools. Use the captions, the sounds, the effects in TikTok (for the SEO)
|
|
||||||
- Repost other people’s stuff.
|
|
||||||
|
|
||||||
- **Whether gameplay or talking heads works better?**
|
|
||||||
- Really depends on how it's done
|
|
||||||
- Usually better to be really short & really contained unless it really has some meat to it (like a personal story that will connect with people)
|
|
||||||
|
|
||||||
- **Projections for how viable TikTok is?**
|
|
||||||
- No idea what will happen, but making stuff that is cross-platform can help
|
|
||||||
- Focus on making vertical video not just TikToks because vertical video are gonna be here for a while
|
|
||||||
|
|
||||||
- **I wanna learn about sounds or use original audio or use trending sounds**
|
|
||||||
- You do want to jump on the trending sounds if you can but sometimes it's good to use your original audio if it's hitting a niche
|
|
||||||
|
|
||||||
## Eileen’s Presentation
|
|
||||||
|
|
||||||
[Check out here](https://docs.google.com/presentation/d/1l03RI4uCwAX7eRv9dwJ36i7RuLpYSMO83vqBhkJXzrQ/edit?usp=sharing)
|
|
||||||
|
|
||||||
## Daffodil:
|
|
||||||
- Views numbers are generally below 1000
|
|
||||||
- Quick 5 second one was the first to get over 1000 views
|
|
||||||
- One with trending audio & loop really popped off on Instagram
|
|
||||||
- One got flagged as dangerous and another got flagged as performed by professionals
|
|
||||||
- Better to get on a trend earlier in the spike rather than later: [Link](https://ads.tiktok.com/business/creativecenter/inspiration/popular/hashtag/pc/en)
|
|
||||||
|
|
||||||
## Dunc:
|
|
||||||
- Been doing vertical social media for people since 2016
|
|
||||||
- Recommends using all the social media with the same content. Repurpose!
|
|
||||||
- He has even re-uploaded directly from TikTok to YouTube with TikTok watermark and it’s been successful
|
|
||||||
- Best practice is to upload it clean (without watermarks)
|
|
||||||
- RNG you're dealing with where you can upload the same video and it will do differently
|
|
||||||
- You get another shot on net if you post the same thing to a different platform
|
|
||||||
- Try to fill up the vertical space as much as you can
|
|
||||||
- All platforms are optimizing to vertical
|
|
||||||
- There are really good ways with games especially to spread your assets out without superzooming on your trailer.
|
|
||||||
- Have assets in top and bottom wooshing by while regular trailer played in the middle (to make the horizontal video work in a vertical way)
|
|
||||||
- Can do a blur on the top and bottom in Premiere
|
|
||||||
- But be careful that the important parts aren't cut off by the captions at the bottom!
|
|
||||||
|
|
||||||
### SEO:
|
|
||||||
- Venba a good example as well as Sally
|
|
||||||
- Hidden text:
|
|
||||||
- Hide the SEO text in the image so no one really sees (!!)
|
|
||||||
- Great if the captions don't really match the aesthetic
|
|
||||||
- You can overdo it. Too many hashtags, end up being shadowbanned for spamming.
|
|
||||||
- Do a series:
|
|
||||||
- Many posts about characters
|
|
||||||
- Plan in a series to make it easier to plan what you're doing next
|
|
||||||
- Could be beneficial to make separate accounts
|
|
||||||
- Studio account / game account
|
|
||||||
- So you have more chances
|
|
||||||
|
|
||||||
### Funnel of content:
|
|
||||||
- 10 seconds of story (too many Instagram stories are bad)
|
|
||||||
- 1 minute reel
|
|
||||||
- longer YouTube video
|
|
||||||
- We can boost one another / comment on each other’s videos and ask questions.
|
|
||||||
|
|
@ -1,42 +0,0 @@
|
||||||
# 0: Kickoff & Onboarding
|
|
||||||
## Pre-session
|
|
||||||
|
|
||||||
- Review Session 0 agenda and your intro talking points
|
|
||||||
- Be ready to introduce yourself and your studio's journey
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
This is the full cohort's orientation to the program. Participants do introductions, learn about the program structure, build initial community agreements, and get the Power Flower homework.
|
|
||||||
|
|
||||||
|
|
||||||
:::info
|
|
||||||
A theme we want to emphasize (based on feedback from Cohort 5) is: **"friction is part of the work."** It's to be expected, and is not something to fear or avoid.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- You're introduced and matched with your studio
|
|
||||||
- Observe your studio during introductions – who talks, who doesn't, what pain points do they talk about?
|
|
||||||
- Participate in community agreements drafting – you are ***part of the community!***
|
|
||||||
|
|
||||||
|
|
||||||
### **👆Your role after session**
|
|
||||||
|
|
||||||
- Connect and chat with your studio in their Slack channel(s)
|
|
||||||
- Make sure they understand the Power Flower homework (especially that it is a private, individual reflection, and no one else will see it unless they want to share)
|
|
||||||
- Note any first impressions to share at the PS check-in
|
|
||||||
|
|
||||||
|
|
||||||
### :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- One person from the studio dominates introductions or positions themselves as the main character
|
|
||||||
- Team members who seem checked out already
|
|
||||||
|
|
||||||
|
|
||||||
### :hammer_and_wrench: **Tools introduced**
|
|
||||||
|
|
||||||
- Power Flower (homework, private)
|
|
||||||
- __[Community agreements](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Loving+Justice)__ (Miro, collective)
|
|
||||||
- __[Loving Justice](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Loving+Justice)__ framework
|
|
||||||
|
|
@ -1,142 +0,0 @@
|
||||||
# 1: Coop Principles & Power
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
In this session, we cover cooperative history and lineages, crediting Global South, Indigenous, Black, women's traditions, not just Rochdale. We also review the 7 ICA Principles.
|
|
||||||
|
|
||||||
The theme is *moving from principles to personal values*.
|
|
||||||
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
**Homework assigned:** individual journaling, team values map (with PS), and individual prep for The Talk (Session 2).
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- Observe small group activity (cooperative lineage sharing) – note whose stories are shared
|
|
||||||
- Listen for how studios talk about values – vague or specific?
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Values Mapping**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Studio Miro board with Values Mapping template
|
|
||||||
- 7 Principles reference
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Confirm everyone completed their individual journaling (Session 1 homework)
|
|
||||||
- Ensure the studio Miro board has the template
|
|
||||||
- Have the 7 Principles visible (on the board or screen-shared)
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
Individual sharing (15-20 min) – Each person shares 3-5 values from their individual reflection.
|
|
||||||
|
|
||||||
Prompts:
|
|
||||||
|
|
||||||
- "What values came up when you did the journaling?"
|
|
||||||
- "You don't need to explain or justify."
|
|
||||||
|
|
||||||
As they share: each person adds values to the Miro board (stickies in their colour/section). No discussion – just capture.
|
|
||||||
|
|
||||||
Watch for: Someone dominating or going first every time; someone staying quiet – invite them in gently; values that sound the same but might mean different things to different people.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Noticing patterns (10-15 min)**
|
|
||||||
|
|
||||||
Look at the board together.
|
|
||||||
|
|
||||||
Prompts:
|
|
||||||
|
|
||||||
- "What do you notice?"
|
|
||||||
- "Where do you see overlap?"
|
|
||||||
- "Any surprises?"
|
|
||||||
- "Are there values that seem similar but might mean different things to different people?"
|
|
||||||
|
|
||||||
|
|
||||||
> Example to offer: "Transparency" – does it mean open documents? Open conversations? Both? Neither? What exactly is meant?
|
|
||||||
|
|
||||||
|
|
||||||
**Connecting to the 7 Principles (10 min)**
|
|
||||||
|
|
||||||
Look at the ICA principles together.
|
|
||||||
|
|
||||||
**Prompts**:
|
|
||||||
|
|
||||||
- "Do you see connections between your values and these principles?"
|
|
||||||
- "Draw lines or group things if it helps."
|
|
||||||
– This can be loose – don't let them fixate on making a beautiful diagram. The point is seeing that their values connect to a larger cooperative tradition.
|
|
||||||
|
|
||||||
|
|
||||||
#### **To bring back to Session 2 (5 min)**
|
|
||||||
|
|
||||||
**Prompts**:
|
|
||||||
|
|
||||||
- "What's one thing you learned about where your team aligns or diverges?"
|
|
||||||
- You'll share this in Session 2 – doesn't need to be polished. Have someone write it down or capture it on the board.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Community agreements contribution (5 min)**
|
|
||||||
|
|
||||||
"Based on this conversation, are there 1-2 values you'd propose adding to the cohort community agreements?" Capture these to bring back to the full group.
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
|
|
||||||
If someone is dominating:
|
|
||||||
|
|
||||||
- "Let's hear from someone who hasn't shared yet."
|
|
||||||
|
|
||||||
|
|
||||||
If no one talks… awkward silence:
|
|
||||||
|
|
||||||
- "Take a minute to look at the board silently. What stands out?"
|
|
||||||
|
|
||||||
|
|
||||||
If tension emerges:
|
|
||||||
|
|
||||||
- "Sounds like there are some different perspectives here. That's useful but we don't need to resolve it today."
|
|
||||||
|
|
||||||
|
|
||||||
If they want to debate definitions:
|
|
||||||
|
|
||||||
- "It's okay to mean different things. The goal is simply to notice where you might need to clarify later."
|
|
||||||
|
|
||||||
|
|
||||||
If time runs short:
|
|
||||||
|
|
||||||
- Prioritize steps 2-3 (sharing and noticing). The principles connection and agreements contribution can be done async if needed.
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁After the session**
|
|
||||||
|
|
||||||
- Note any tensions/surprises for your PS check-in
|
|
||||||
- Remind the team to bring their learnings to Session 2
|
|
||||||
|
|
||||||
### **👉 Also this week**
|
|
||||||
|
|
||||||
#### **Make sure they're prepping for The Talk**
|
|
||||||
|
|
||||||
Session 2 homework includes individual prep on four topics: financial reality, time/availability, skills/contributions, decision-making styles.
|
|
||||||
|
|
||||||
|
|
||||||
:::warning
|
|
||||||
They need to *write their answers down* before Session 2. Check that they're doing this!
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- A studio that can't name any values beyond "we want to make good games" – don't we all! Too vague.
|
|
||||||
- One person speaking for the group about "our" values
|
|
||||||
- Values that are all abstract with no grounding in practice
|
|
||||||
|
|
@ -1,190 +0,0 @@
|
||||||
# 2: Shared Purpose & Alignment
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
This session, we talk about the challenges of *aligning on the studio's purpose*.
|
|
||||||
|
|
||||||
We go over common pitfalls – vague goals like "we all just want to make good games" and assuming shared politics means shared work values. We do four rounds of The Talk, asking detailed individual questions about financial reality, time/availability, skills/contributions, and decision-making styles. Studios practice this in their channels with the Peer Support present.
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
***This is a big one.*** You're facilitating The Talk in your studio's breakout room (aka their project or studio channel). Here are some things to watch for:
|
|
||||||
|
|
||||||
|
|
||||||
Financial reality:
|
|
||||||
|
|
||||||
- People minimizing their own needs
|
|
||||||
- Wide gaps in financial situations not being acknowledged
|
|
||||||
- Someone going quiet
|
|
||||||
|
|
||||||
|
|
||||||
Time/availability:
|
|
||||||
|
|
||||||
- Vague answers
|
|
||||||
- Someone over committing to match others
|
|
||||||
|
|
||||||
|
|
||||||
Skills/contributions:
|
|
||||||
|
|
||||||
- People only naming strengths and not gaps
|
|
||||||
- Assumptions about roles based on past
|
|
||||||
- Someone taking on the hard or tedious stuff by default
|
|
||||||
|
|
||||||
|
|
||||||
Decision-making:
|
|
||||||
|
|
||||||
- Very different styles that could clash (fast decider vs. slow processor)
|
|
||||||
- Someone who goes along to avoid conflict
|
|
||||||
- Past conflicts referenced passively
|
|
||||||
|
|
||||||
|
|
||||||
### :triangular_ruler: **Format**
|
|
||||||
|
|
||||||
Each person answers in turn (2 min each), use the Miro timer, brief open discussion after everyone answers, then move to next round.
|
|
||||||
|
|
||||||
The goal isn't to solve everything today, just to get the conversation started!
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Continuing The Talk**
|
|
||||||
|
|
||||||
**Materials:** Notes from Session 2 activity, participants' original prep from Session 1
|
|
||||||
|
|
||||||
### :world_map: **Context**
|
|
||||||
|
|
||||||
In Session 2, studios practiced The Talk – four rounds covering financial reality, time/availability, skills/contributions, and decision-making styles. They started these conversations but didn't finish them (this is the intention). During this Studio Support Meeting, help them go deeper: Create space to continue conversations that got cut short or stayed shallow, draw out what went unsaid, help the team notice patterns.
|
|
||||||
|
|
||||||
This is an ongoing practice!
|
|
||||||
|
|
||||||
### :ocean: **Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"How did The Talk feel for you? Anything still sitting with you from Session 2?" Let each person respond briefly. Listen for tensions, moments of relief, unfinished ideas.
|
|
||||||
|
|
||||||
#### **Go deeper on one round (20-25 min)**
|
|
||||||
|
|
||||||
"Which round felt most unfinished or brought up the most tension?" Revisit the questions in the round they choose, but this time, push past the first answer.
|
|
||||||
|
|
||||||
|
|
||||||
***For financial reality:***
|
|
||||||
|
|
||||||
|
|
||||||
1. What would change for you if the studio couldn't pay you anything for six months?
|
|
||||||
2. Are you trying not to seem demanding, and not sharing your true needs?
|
|
||||||
3. Are there differences in monetary needs that create (a sense of) unbalanced power dynamics?
|
|
||||||
|
|
||||||
|
|
||||||
***For time and availability:***
|
|
||||||
|
|
||||||
|
|
||||||
4. How many hours per week can you reliably, actually commit – a hard number.
|
|
||||||
5. What's something that would cause you to miss a deadline? How would you want to handle that as a team?
|
|
||||||
6. Are you building around one person's availability? Intentionally?
|
|
||||||
|
|
||||||
|
|
||||||
***For skills and contributions:***
|
|
||||||
|
|
||||||
|
|
||||||
7. What happens if no one does the "dreaded task"?
|
|
||||||
8. When you're overwhelmed, do you want people to check in or give you space? Does the team know that about you?
|
|
||||||
9. Is anyone doing work that isn't visible or acknowledged?
|
|
||||||
|
|
||||||
|
|
||||||
***For decision-making:***
|
|
||||||
|
|
||||||
|
|
||||||
10. What happens if you disagree about something, but don't say anything?
|
|
||||||
11. Has there been a decision in this group where you felt unheard?
|
|
||||||
12. When you're under pressure, do you speed up or slow down? Do these styles clash between members?
|
|
||||||
|
|
||||||
|
|
||||||
#### **Draw out the unsaid (15 min)**
|
|
||||||
|
|
||||||
|
|
||||||
:::warning
|
|
||||||
***This could be hard.*** "Was there anything you wanted to say in Session 2 but didn't?"
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
Give silence and let it be awkward. *You really need to relish the awkwardness.* Let folks build up courage to speak up. If nothing comes up, at least you've created an opening for later.
|
|
||||||
|
|
||||||
- Is there a question you wish someone had asked you?
|
|
||||||
- Is there something you noticed about a teammate's answer that you're still thinking about?
|
|
||||||
- Is there an elephant in the room?
|
|
||||||
|
|
||||||
If something big comes up: help them decide – "Is this something you want to keep talking about now, or table for later?"
|
|
||||||
|
|
||||||
|
|
||||||
### Close and next steps (5 min)
|
|
||||||
|
|
||||||
"What's one thing you want to carry forward from this conversation?"
|
|
||||||
|
|
||||||
Remind them: these conversations don't end here; tension is interesting information, not failure; they can bring things back to future PS sessions.
|
|
||||||
|
|
||||||
**Nudge them on their Session 2 homework:** writing down tension points and unsaid questions. Check that they're doing this – we need this to build on later.
|
|
||||||
|
|
||||||
## :triangular_flag_on_post:**Red flags**
|
|
||||||
|
|
||||||
- One person's needs consistently minimized (by themselves or others)
|
|
||||||
- Financial gaps with no acknowledgment of how they affect power
|
|
||||||
- A founder or initiator whose preferences are treated as default
|
|
||||||
- Someone checked out or going along without engaging
|
|
||||||
- A topic the group keeps avoiding
|
|
||||||
- Stuck or clearly in conflict
|
|
||||||
|
|
||||||
Note these for your PS check-in or message in the channel.
|
|
||||||
|
|
||||||
## :point_right: **Also this week: Scale and Pace**
|
|
||||||
|
|
||||||
**Duration:** 15-20 minutes (can be folded into the same meeting as Continuing The Talk, or done as a separate short check-in)
|
|
||||||
|
|
||||||
**Context:** Session 2 homework asks each person to individually reflect on where they see the studio in 1/3/5 years and what their revenue model might look like. This is just a conversation starter. You're helping them notice where their assumptions about the studio's future align or diverge.
|
|
||||||
|
|
||||||
|
|
||||||
**Before the conversation:**
|
|
||||||
|
|
||||||
- Confirm everyone has done some thinking on this (even loosely). If they haven't, give them 5 minutes of quiet writing time before you start.
|
|
||||||
|
|
||||||
|
|
||||||
**How to facilitate:**
|
|
||||||
|
|
||||||
Start with a round: Each person shares one thing about where they see the studio. Keep it brief – you're listening for gaps, not building a business plan.
|
|
||||||
|
|
||||||
|
|
||||||
Prompts to draw out differences:
|
|
||||||
|
|
||||||
- "When you picture the studio in three years, how many people are on the team?"
|
|
||||||
- "Are you imagining one game, or multiple projects?"
|
|
||||||
- "What does 'success' look like for you personally – not the studio, *you*?"
|
|
||||||
- "Is this your full-time thing, or alongside other work?"
|
|
||||||
|
|
||||||
|
|
||||||
Then ground it:
|
|
||||||
|
|
||||||
- "Who are your players? Do you know?"
|
|
||||||
- "What's your revenue model – game sales, services, grants, a mix?"
|
|
||||||
- "Can that sustain you? For how long?"
|
|
||||||
- "What happens if the game takes twice as long as you think?"
|
|
||||||
|
|
||||||
|
|
||||||
**What you're listening for:**
|
|
||||||
|
|
||||||
- Major mismatches in ambition (one person wants a 20-person studio, another wants a 3-person collective)
|
|
||||||
- Revenue model assumptions that haven't been tested or discussed ("we'll just get a publisher")
|
|
||||||
- Someone who hasn't thought about this at all
|
|
||||||
- Scale assumptions that don't match the team's actual capacity
|
|
||||||
- Different definitions of sustainability (covering rent vs. building wealth vs. just making a game)
|
|
||||||
|
|
||||||
|
|
||||||
**What you're not doing:** Judging their plans or telling them what's realistic. You're helping them see whether they're actually talking about the same studio.
|
|
||||||
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
**Tip:** **If you notice a big gap** – say, one person assumes this is a side project and another has quit their job for it – name it gently. "I'm noticing you might be picturing different scales here. Is that something you've talked about?" This is the kind of divergence that festers if it stays unspoken.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
**After the conversation:**
|
|
||||||
|
|
||||||
- Note any major alignment gaps for your PS check-in
|
|
||||||
- They'll keep returning to scale and pace throughout the program – this is just the first pass
|
|
||||||
|
|
@ -1,156 +0,0 @@
|
||||||
# 3: Actionable Values and Impact
|
|
||||||
|
|
||||||
## Pre-session
|
|
||||||
|
|
||||||
If you are the presenting PS for this session, prepare a **10-minute** case study from your studio covering:
|
|
||||||
|
|
||||||
- How you arrived at your current values (what process did you use? what changed through iteration?)
|
|
||||||
- One example of values guiding a real decision – especially a hard one
|
|
||||||
- Where you've seen a gap between stated values and actual practice, and what you did about it
|
|
||||||
|
|
||||||
Show the messy stuff. Participants need to see that this work is ongoing, not a one-time exercise.
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
Studios move from identifying values to making them operational. The session introduces two tools: the Why/What/How framework (turning values into concrete practices) and Layers of Effect (mapping ripple effects of decisions). A Peer Support presenter shares a case study from their own studio. Studios work through scenarios using values-first thinking and identify a decision to run through the tools with their PS this week.
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- If presenting: Deliver your case study. Be honest about what didn't work and what you're still figuring out.
|
|
||||||
- Observe your studio during the scenario exercise – who applies values first vs. jumping to solutions?
|
|
||||||
- Note whether studios can connect their Session 1 values to the tools, or if values are still too vague to be actionable.
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Confirm everyone understood the Why/What/How framework and the Layers of Effect template
|
|
||||||
- Make sure the Miro templates (Why/What/How and Layers of Effect) are on your studio's board
|
|
||||||
- Note which decision they chose for the homework activity
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Why/What/How + Layers of Effect**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Studio Miro board with Why/What/How template
|
|
||||||
- Studio Miro board with [Layers of Effect template](https://miro.com/templates/layers-effect-template/)
|
|
||||||
- The studio's values map from Session 1
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Confirm the Miro templates are set up and accessible
|
|
||||||
- Review the studio's values map – pick 1-2 values that seem ripe for the Why/What/How exercise (have a suggestion ready in case the team gets stuck)
|
|
||||||
- Know which decision they identified at the end of Session 3 for the Layers of Effect exercise
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"How did the scenario exercise land for you? Was it easy or hard to start with values before jumping to solutions?"
|
|
||||||
|
|
||||||
Let each person respond briefly. Listen for whether they found the tools useful or abstract.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Why/What/How deep dive (20-25 min)**
|
|
||||||
|
|
||||||
Pick one value from the studio's values map together and work through the full framework.
|
|
||||||
|
|
||||||
**Step 1: WHY (5-7 min)**
|
|
||||||
|
|
||||||
"Why does this value matter to your studio? What's at stake if you don't practice it?"
|
|
||||||
|
|
||||||
Prompts if they get stuck:
|
|
||||||
|
|
||||||
- "What would go wrong if you dropped this value tomorrow?"
|
|
||||||
- "Who is affected if this value isn't practiced?"
|
|
||||||
|
|
||||||
**Step 2: WHAT (5-7 min)**
|
|
||||||
|
|
||||||
"What does practicing this value actually look like? What are you committing to?"
|
|
||||||
|
|
||||||
Push for specificity:
|
|
||||||
|
|
||||||
- "If a new member joined next month, how would they know you practice this value?"
|
|
||||||
- "'We value transparency' – what does that mean concretely? Open finances? Open conversations? Open documents?"
|
|
||||||
|
|
||||||
**Step 3: HOW (5-7 min)**
|
|
||||||
|
|
||||||
"How will you actually do this? What specific activities, rituals, or outputs?"
|
|
||||||
|
|
||||||
This is where it gets real:
|
|
||||||
|
|
||||||
- "How often? Who's responsible? Where does it live?"
|
|
||||||
- "What's the minimum viable version you could start this week?"
|
|
||||||
|
|
||||||
Capture everything on the Miro board.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Layers of Effect practice (15-20 min)**
|
|
||||||
|
|
||||||
Use the decision they identified in Session 3. Walk through the three rings together.
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
**Parallel framework for context:** Neil Postman's "Seven Questions for any new technology" maps closely to Layers of Effect. If a studio is struggling with the concentric rings framing, try Postman's questions as an alternate way in: (1) What problem does this solve? (2) Whose problem is it? (3) What new problems does solving it create? (4) Who is most impacted? (5) What changes in language? (6) What shifts in power? (7) What unintended uses might emerge?
|
|
||||||
:::
|
|
||||||
|
|
||||||
**Primary effects (5 min):** "What are the direct, immediate impacts of this decision?"
|
|
||||||
|
|
||||||
- Who gains? Who pays? Who's invisible but affected?
|
|
||||||
|
|
||||||
**Secondary effects (5 min):** "What are the known but less obvious impacts?"
|
|
||||||
|
|
||||||
- What dependencies or new risks are you introducing?
|
|
||||||
|
|
||||||
**Tertiary effects (5 min):** "What unforeseen consequences might emerge over time?"
|
|
||||||
|
|
||||||
- What standards could this establish? What shifts over years?
|
|
||||||
|
|
||||||
Use yellow stickies for opportunities/benefits and red for risks/costs. These might be connected – a benefit in one layer can create a risk in another.
|
|
||||||
|
|
||||||
**Debrief (5 min):**
|
|
||||||
|
|
||||||
- "Did mapping this change how you think about the decision?"
|
|
||||||
- "Did your values hold up, or did you notice a gap between intention and effect?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Close and next steps (5 min)**
|
|
||||||
|
|
||||||
- "How often should you revisit your values and check whether your effects match your intentions?"
|
|
||||||
- Encourage them to make this a recurring practice, not a one-time exercise
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If the Why/What/How stays vague:
|
|
||||||
|
|
||||||
- "Can you make that even more specific? What would someone actually *see* you doing?"
|
|
||||||
|
|
||||||
If they rush through Layers of Effect:
|
|
||||||
|
|
||||||
- "Slow down at tertiary. The unforeseen stuff is where the most important learning happens."
|
|
||||||
|
|
||||||
If they only see positive effects:
|
|
||||||
|
|
||||||
- "Every decision has costs. Who bears them? Who's invisible here?"
|
|
||||||
|
|
||||||
If one person dominates the values conversation:
|
|
||||||
|
|
||||||
- "Let's hear from everyone – whose experience of this value is different?"
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Note whether the studio can translate values into practices or if they're still stuck at the abstract level
|
|
||||||
- Note any gaps between stated values and emerging practices – these will come up again
|
|
||||||
- Remind them to discuss as a studio: how often should you revisit values and check your effects?
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- Values that are all "why" with no "what" or "how" – inspiration without practice
|
|
||||||
- A studio that can't see any negative effects of their decisions – lack of critical thinking or avoidance
|
|
||||||
- One person defining "our" values without challenge from the group
|
|
||||||
- Tools treated as a box-checking exercise rather than genuine reflection
|
|
||||||
- "We already know our values" without being able to articulate practices
|
|
||||||
|
|
@ -1,150 +0,0 @@
|
||||||
# 4: Decision-Making in Practice
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
Studios explore cooperative decision-making frameworks (consensus, consent, majority, delegation, random chance). They practice identifying who gets to raise issues, work through decision-making steps, and discuss handling dissent. The session also covers meetings (roles, facilitation, rotating responsibilities) and the "genius trap." Studios do a facilitation rotation practice in groups of three. The Informal Hierarchy Check-In is introduced as an ongoing tool.
|
|
||||||
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
**Homework assigned:** practice one decision-making framework on a real decision, map current role distribution, complete the Informal Hierarchy Check-In as a studio, and notice where decisions happen this week.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- Observe the facilitation rotation activity – note how your studio members handle facilitating, participating, and observing
|
|
||||||
- Listen for how they talk about where decisions currently happen (meetings? DMs? default to one person?)
|
|
||||||
- Note whether anyone identifies informal hierarchy patterns during the journaling activity
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Make sure your studio understands the Informal Hierarchy Check-In questions and plans to work through them together
|
|
||||||
- Confirm they've chosen which decision-making framework to practice this week
|
|
||||||
- Check that they understand the difference between consensus and consent – this trips people up
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Decision-Making Practice + Informal Hierarchy Check-In**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Informal Hierarchy Check-In questions (from session)
|
|
||||||
- Decision-making frameworks reference (consensus, consent, majority, delegation)
|
|
||||||
- The studio's notes from the facilitation rotation activity
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Know which decision-making framework the studio chose to practice
|
|
||||||
- Have a small, real decision ready in case the studio can't think of one (e.g., "What should your next team social activity be?" or "How should you structure your next sprint?")
|
|
||||||
- Review the 5 Informal Hierarchy Check-In questions so you can facilitate them smoothly
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"What did you notice in the facilitation rotation? What was harder than expected – facilitating, participating, or observing?"
|
|
||||||
|
|
||||||
#### **Practice a decision-making framework (20-25 min)**
|
|
||||||
|
|
||||||
Help the studio work through a real decision using their chosen framework.
|
|
||||||
|
|
||||||
**Set up (3 min):**
|
|
||||||
|
|
||||||
- Name the decision clearly. Write it down where everyone can see it.
|
|
||||||
- Name the framework you're using – "We're going to try consent on this."
|
|
||||||
- Clarify: who is affected by this decision? Does everyone here need to be part of it?
|
|
||||||
|
|
||||||
**Work through the decision-making steps (15-20 min):**
|
|
||||||
|
|
||||||
1. Understand the context – what's happening? What do people feel about it?
|
|
||||||
2. Identify the underlying need – what are we actually trying to address?
|
|
||||||
3. Generate options – encourage weird ideas. Notice who contributes.
|
|
||||||
4. Check alignment with values – how do these options fit with who you want to be?
|
|
||||||
5. Evaluate consequences – who benefits, who's affected, trade-offs?
|
|
||||||
6. Decide using the framework – name the method before you begin.
|
|
||||||
7. Before finalizing: "Does anyone have concerns they haven't voiced? Is anyone agreeing just to move on?"
|
|
||||||
8. Clarify implementation – who does what? When do you check back?
|
|
||||||
|
|
||||||
**Debrief (5 min):**
|
|
||||||
|
|
||||||
- "How did that feel compared to how you usually make decisions?"
|
|
||||||
- "What was different about naming the framework first?"
|
|
||||||
- "Did anyone notice moments where old patterns kicked in?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Informal Hierarchy Check-In (15-20 min)**
|
|
||||||
|
|
||||||
Work through the five questions together. Go one at a time.
|
|
||||||
|
|
||||||
1. **Who spoke most in our last meeting?**
|
|
||||||
2. **Whose idea did we go with by default?**
|
|
||||||
3. **Who knows how to do [X] that no one else knows?**
|
|
||||||
4. **What happened last time someone disagreed?**
|
|
||||||
5. **Whose schedule shapes our meeting times?**
|
|
||||||
|
|
||||||
Prompts to keep it exploratory, not accusatory:
|
|
||||||
|
|
||||||
- "No guilt here – we're just noticing."
|
|
||||||
- "These patterns aren't problems yet. But under pressure, they become cracks."
|
|
||||||
- "What would you want to change? What's actually fine?"
|
|
||||||
|
|
||||||
Capture observations – they'll bring these to Session 5.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Close (5 min)**
|
|
||||||
|
|
||||||
- "What's one pattern you noticed that you want to keep an eye on?"
|
|
||||||
- Remind them to notice where decisions happen this week (in meetings? DMs? Slack? who's present?)
|
|
||||||
|
|
||||||
|
|
||||||
### 👉 **Also this week**
|
|
||||||
|
|
||||||
#### **Map your current role distribution**
|
|
||||||
|
|
||||||
This can be done async or as part of the PS meeting if there's time. The question is simple: for each role/responsibility in the studio, where did it come from – explicit decision or implicit default?
|
|
||||||
|
|
||||||
Prompts:
|
|
||||||
|
|
||||||
- "Who handles finances? Was that decided or did it just happen?"
|
|
||||||
- "Who schedules meetings? Who takes notes? Who answers external emails?"
|
|
||||||
- "Are there roles no one officially has but someone 'just does'?"
|
|
||||||
|
|
||||||
This feeds directly into Session 5's governance work.
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If the decision-making practice feels artificial:
|
|
||||||
|
|
||||||
- "The point is to *notice* the process. How you decide matters as much as what you decide."
|
|
||||||
|
|
||||||
If one person dominates the decision:
|
|
||||||
|
|
||||||
- "I noticed [name] spoke first and longest. Can we try a round where everyone shares before discussion?"
|
|
||||||
|
|
||||||
If no one disagrees:
|
|
||||||
|
|
||||||
- "That was quick! Is everyone actually aligned, or is someone going along to keep things moving?" (This is a direct reference to the dissent section from the session.)
|
|
||||||
|
|
||||||
If someone gets defensive:
|
|
||||||
|
|
||||||
- "It's okay – noticing patterns is the hardest part. You don't need to fix anything today."
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Note which patterns came up in the Informal Hierarchy Check-In – especially anything the studio seemed to avoid discussing
|
|
||||||
- Note how the decision-making practice went – did they actually use the framework or fall back into old patterns?
|
|
||||||
- Bring observations to your PS check-in
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- A studio that "decides" everything by default to one person and calls it delegation
|
|
||||||
- Someone consistently going along without engaging – "I'm fine with whatever"
|
|
||||||
- Resistance to the hierarchy check-in – "we don't have hierarchy, we're all equal" (it's insidious)
|
|
||||||
- Decisions happening outside the room (in DMs between two people) and being presented as done
|
|
||||||
- The same person always facilitating, taking notes, or scheduling
|
|
||||||
|
|
@ -1,144 +0,0 @@
|
||||||
# 5: Coop Structures and Governance
|
|
||||||
|
|
||||||
## Pre-session
|
|
||||||
|
|
||||||
If you are the presenting PS for this session, prep a **15-20 minute** case study from your studio covering:
|
|
||||||
|
|
||||||
- How your studio makes decisions now
|
|
||||||
- What you tried that didn't work
|
|
||||||
- One example of governance helping resolve a real issue
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
Studios learn about:
|
|
||||||
- legal structures (sole prop, partnership, corporation, worker coop)
|
|
||||||
- governance models (collective governance, advice process, sociocratic circles, board + membership, DisCOs)
|
|
||||||
- member management (adding, departing, removing members)
|
|
||||||
|
|
||||||
A PS presenter shares a 15-20 minute case study on their studio's governance journey. We also introduce Community Rule as a tool for documenting governance in plain language. We focus on *making governance visible*, designing structures from the patterns noticed in Session 4, and distinguishing between governance practice and legal incorporation.
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- If presenting: deliver your case study
|
|
||||||
- Observe how your studio responds to the governance models – what resonates? What causes confusion or resistance?
|
|
||||||
- Listen for whether they connect their Session 4 Informal Hierarchy Check-In observations to governance design choices
|
|
||||||
- Note how they react to the member removal discussion. It's an uncomfortable topic.
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Make sure your studio has access to [Community Rule](https://communityrule.info/)
|
|
||||||
- Confirm they understand the homework: start a Community Rule draft with you, discuss financial sustainability, and do a personal reflection on financial access
|
|
||||||
- Note which governance model(s) they're gravitating toward
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Community Rule Drafting**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- [Community Rule](https://communityrule.info/) tool
|
|
||||||
- Studio's Informal Hierarchy Check-In observations from Session 4
|
|
||||||
- Notes on which governance model(s) interested them
|
|
||||||
|
|
||||||
|
|
||||||
### :world_map: **Context**
|
|
||||||
|
|
||||||
This is a working session. You're helping the studio start documenting their governance in plain language using Community Rule. They don't need to finish – the goal is to surface where they already have answers vs. where they need more conversation. This will be a living document.
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Familiarize yourself with the Community Rule interface and fields
|
|
||||||
- Review the studio's Informal Hierarchy Check-In observations
|
|
||||||
- Have the governance models overview handy (collective governance, advice process, circles, board + membership) in case they need a refresher
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"What governance model stuck with you from the session? Did anything click, or feel wrong?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Community Rule walkthrough (10 min)**
|
|
||||||
|
|
||||||
Open the tool together. Community Rule works as a modular builder – you assemble your governance from pre-made or custom building blocks.
|
|
||||||
|
|
||||||
Start with the basics: Name your studio and write a short summary of its structure.
|
|
||||||
|
|
||||||
Then explore the module library together. There are four categories:
|
|
||||||
|
|
||||||
- **Culture** – values, norms, purpose, solidarity, diversity
|
|
||||||
- **Decision** – how decisions get made (lazy consensus, do-ocracy, vote, ranked choice, etc.)
|
|
||||||
- **Process** – how policies are implemented and evolve (accountability process, delegation, transparency, dissolution, exclusion, etc.)
|
|
||||||
- **Structure** – roles and internal entities (board, council, membership, ownership, roles, committee, etc.)
|
|
||||||
|
|
||||||
Drag in the modules that feel relevant. Each one can be configured with key-value pairs – for example, a "Membership" module might have configuration like "Eligibility: active worker-owners who have completed a 3-month trial period." You can also create custom modules for anything the library doesn't cover.
|
|
||||||
|
|
||||||
Don't try to build everything at once. Start by browsing the categories and noticing which modules the studio can configure easily vs. which ones lead to blank stares.
|
|
||||||
|
|
||||||
Prompts:
|
|
||||||
|
|
||||||
- "Which of these are you already doing without naming it?"
|
|
||||||
- "Where is there genuine disagreement or uncertainty?"
|
|
||||||
- "What's missing from the library that's specific to how you work?"
|
|
||||||
|
|
||||||
#### **Draft together (20-25 min)**
|
|
||||||
|
|
||||||
Start filling in what you can. Focus on the modules where there's energy or alignment. When you hit a field where there's disagreement, note it and move on. Don't try to resolve everything today.
|
|
||||||
|
|
||||||
#### **Close and gaps list (5 min)**
|
|
||||||
|
|
||||||
- Make a list of areas that still need discussion
|
|
||||||
- "What's the most important unresolved question?"
|
|
||||||
- "Who's going to take a first pass at writing up what we decided today?"
|
|
||||||
|
|
||||||
|
|
||||||
### 👉 **Also this week**
|
|
||||||
|
|
||||||
#### **Financial sustainability conversation**
|
|
||||||
|
|
||||||
Session 5 homework asks each person to reflect: *What does financial sustainability look like for you personally? What would you need from this project?*
|
|
||||||
|
|
||||||
This is prep for Session 6 (Equitable Economics). Check in during the week:
|
|
||||||
|
|
||||||
- "Has everyone spent some time thinking about the financial sustainability question?"
|
|
||||||
- "And the personal reflection: what financial information have you never been allowed to see at work?"
|
|
||||||
|
|
||||||
These don't need to be discussed as a studio yet – just make sure individuals are reflecting.
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If they want to pick a governance model immediately:
|
|
||||||
|
|
||||||
- "You don't have to commit today. Start with collective governance or advice process – you can add complexity as you learn what you actually need."
|
|
||||||
|
|
||||||
If Community Rule feels bureaucratic:
|
|
||||||
|
|
||||||
- "You're already doing governance – this just helps you name it."
|
|
||||||
|
|
||||||
If they skip over membership/removal:
|
|
||||||
|
|
||||||
- "This is the part that matters most when things get hard. Even a rough sketch now saves a lot of pain later."
|
|
||||||
|
|
||||||
If one person is doing all the talking about governance:
|
|
||||||
|
|
||||||
- "Governance designed by one person is just management with extra steps. Everyone needs to shape this."
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Note where the studio has clear alignment vs. where they got stuck
|
|
||||||
- Note any tension around membership/removal – these conversations will deepen
|
|
||||||
- Remind them about the financial sustainability reflection for Session 6 prep
|
|
||||||
- Bring the draft status to your PS check-in
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- A studio that resists documenting anything – "we just know how we work" (exactly the problem)
|
|
||||||
- Governance designed around one person's strengths or preferences
|
|
||||||
- Avoiding the membership/removal conversation entirely
|
|
||||||
- Confusing governance with incorporation – "we're not a real coop yet so we don't need this"
|
|
||||||
- A draft that looks perfect on paper but doesn't match how the studio actually operates
|
|
||||||
|
|
@ -1,163 +0,0 @@
|
||||||
# 6: Equitable Economics
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
This is a dense session covering revenue sources, financial transparency, compensation models (equal pay, needs-based, role-based, hybrid), profit-sharing basics, and IP ownership. Studios discuss what financial sustainability means personally, explore open-book practices, and start thinking about what "fair" compensation looks like. The session connects financial decisions to the governance structures from Session 5.
|
|
||||||
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
**Homework assigned:** discuss financial transparency (what feels vulnerable to share?) and compensation models (what feels fair?). These conversations are prep for the PS meeting this week.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- Observe how your studio reacts to the compensation models discussion – where do they light up? Where do they tense up?
|
|
||||||
- Listen for financial information gaps – who has financial literacy? Who doesn't?
|
|
||||||
- Note whether anyone avoids the personal financial sustainability question
|
|
||||||
- Watch the IP ownership discussion – this can surface unexpected disagreements, especially if someone brought existing work into the project
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Check that everyone understands the homework and is willing to have the financial conversations
|
|
||||||
- Note any immediate tensions about money that surfaced during the session
|
|
||||||
- Make sure they know the tools mentioned: [CoBudget](https://cobudget.com/), [OpenCollective](https://opencollective.com/), [coop.love](https://coop.love)
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Financial Transparency and Compensation**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Compensation models reference (equal pay, needs-based, role-based, hybrid)
|
|
||||||
- Studio's Community Rule draft from Session 5 (financial decision-making sections)
|
|
||||||
- Revenue sources overview from the session
|
|
||||||
|
|
||||||
|
|
||||||
### :world_map: **Context**
|
|
||||||
|
|
||||||
Money is where values meet reality. This studio support meeting helps the studio have the financial conversations that most groups avoid. Your role is to create enough safety for vulnerability while pushing past surface-level comfort. These conversations don't need to reach decisions today – they need to *happen*.
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Check in about whether they've started reflecting on the homework questions
|
|
||||||
- Review the studio's governance draft – what did they decide about financial decision-making?
|
|
||||||
- Be prepared for this session to be emotionally charged
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"The session covered a lot of ground about money. What's sitting with you? Anything surprising – or anything you're dreading talking about?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Financial transparency (15-20 min)**
|
|
||||||
|
|
||||||
Start with the personal reflection prompt from Session 5 homework:
|
|
||||||
|
|
||||||
"What financial information have you never been allowed to see at work. What might have been different if you had?"
|
|
||||||
|
|
||||||
Let each person share. This grounds the conversation in lived experience before it becomes abstract.
|
|
||||||
|
|
||||||
Then move to the studio:
|
|
||||||
|
|
||||||
**Prompts:**
|
|
||||||
|
|
||||||
- "What financial information would feel vulnerable to share with your studio?"
|
|
||||||
- "What would you need in order to feel safe sharing it?"
|
|
||||||
- "What's the minimum level of financial transparency you'd want in your coop?"
|
|
||||||
|
|
||||||
**Practical questions:**
|
|
||||||
|
|
||||||
- "Who currently knows the most about the studio's finances? Is that a choice or a default?"
|
|
||||||
- "If you were to do open books – what would that actually look like? A shared spreadsheet? Monthly summaries? Full access to accounts?"
|
|
||||||
- "What's one step you could take this week toward more transparency?"
|
|
||||||
|
|
||||||
Don't push anyone to share financial details they're not ready to. The goal is *naming the discomfort*.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Compensation models (15-20 min)**
|
|
||||||
|
|
||||||
Review the four models briefly:
|
|
||||||
|
|
||||||
- **Equal pay:** same rate regardless of role
|
|
||||||
- **Needs-based:** adjusted for members' actual financial situations
|
|
||||||
- **Role-based:** different rates for different roles
|
|
||||||
- **Hybrid:** base rate plus adjustments
|
|
||||||
|
|
||||||
**Discussion prompts:**
|
|
||||||
|
|
||||||
- "What feels fair to you? Where do you notice tension between 'fair' and 'comfortable'?"
|
|
||||||
- "What would you need to know about each other's situations to decide together?"
|
|
||||||
- "Which model aligns best with your values?"
|
|
||||||
|
|
||||||
**Dig deeper:**
|
|
||||||
|
|
||||||
- "If you chose equal pay, what happens when one person is working 40 hours and another is working 15?"
|
|
||||||
- "If you chose needs-based, who decides what counts as a 'need'?"
|
|
||||||
- "If you chose role-based, who decides which roles are worth more – and doesn't that recreate hierarchy?"
|
|
||||||
|
|
||||||
You don't need to reach a decision.
|
|
||||||
|
|
||||||
|
|
||||||
#### **IP ownership – first pass (5-10 min)**
|
|
||||||
|
|
||||||
If there's time, and only if the studio is ready:
|
|
||||||
|
|
||||||
- "Who owns the game you're making together?"
|
|
||||||
- "Has anyone brought existing work into the project? What happens to that?"
|
|
||||||
- "What happens to IP if someone leaves?"
|
|
||||||
|
|
||||||
If these questions create tension, name it: "This is the kind of conversation that gets harder the longer you wait. Notice where you're not aligned."
|
|
||||||
|
|
||||||
|
|
||||||
#### **Close (5 min)**
|
|
||||||
|
|
||||||
- "What's one financial conversation your team has been avoiding?"
|
|
||||||
- "What's one concrete step you can take before next session?"
|
|
||||||
- Remind them: Session 7 is about conflict – and money is often where conflict shows up first
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If someone shuts down:
|
|
||||||
|
|
||||||
- "Money stuff can be really personal. You don't have to share anything you're not ready to. But notice what you're protecting and why."
|
|
||||||
|
|
||||||
If the group avoids specifics:
|
|
||||||
|
|
||||||
- "Saying 'we'll figure it out later' is a to avoid financial conversations. Try to think of a specific decision to discuss today."
|
|
||||||
|
|
||||||
If one person has significantly more financial literacy:
|
|
||||||
|
|
||||||
- "Part of transparency is making sure everyone can participate in financial decisions. Can you explain that in plain terms?"
|
|
||||||
|
|
||||||
If there's a clear financial power imbalance:
|
|
||||||
|
|
||||||
- Don't force anyone to disclose. But you can note: "Financial differences affect power whether you name them or not. The question is whether you address it openly."
|
|
||||||
|
|
||||||
If they want to decide compensation now:
|
|
||||||
|
|
||||||
- "You can start with a provisional model. Try it for a period, then revisit. Consent-based: is this good enough for now, safe enough to try?"
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Note how the financial conversations went – where was there openness vs. avoidance?
|
|
||||||
- Note any power dynamics around financial literacy or financial resources
|
|
||||||
- Note any IP ownership disagreements – these need to be resolved before incorporation
|
|
||||||
- Bring observations to your PS check-in
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- One person controlling all financial information or decisions
|
|
||||||
- Someone minimizing their own financial needs to match the group
|
|
||||||
- "We don't need to talk about money yet" – avoidance that will become a crisis later
|
|
||||||
- Financial plans that assume best-case scenarios with no contingency
|
|
||||||
- Major gaps in financial literacy that no one is addressing
|
|
||||||
- IP ownership assumptions that haven't been discussed – especially if someone brought pre-existing work
|
|
||||||
- Compensation discussions where one person's opinion is treated as the default
|
|
||||||
|
|
@ -1,168 +0,0 @@
|
||||||
# 7: Conflict Resolution and Collective Care
|
|
||||||
|
|
||||||
## Pre-session
|
|
||||||
|
|
||||||
- Review Baby Ghosts' [Conflict Resolution Policy](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Conflict+Resolution+Policy) before session – this is the template participants will adapt for homework
|
|
||||||
- Check in with your studio about how their compensation discussions went; any friction that came up is useful for this session
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
The heaviest session. Studios learn to reframe conflict as data (not failure), distinguish structural from interpersonal conflict, and practice behaviourally-specific feedback. Key tools: the Loving Justice framework (Brave? Kind? Honest? Humble?), the intent/behaviour/impact model ("stay on your side of the net"), and the Window of Transformation (zones of activation). The session covers multi-directional accountability, escalation as care, and the idea that trust comes from repair, not avoidance.
|
|
||||||
|
|
||||||
|
|
||||||
:::warning
|
|
||||||
**Before this session:** review Baby Ghosts' [Conflict Resolution Policy](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Conflict+Resolution+Policy). Check in with your studio about how their compensation discussions went – any friction that came up is useful material for this session.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- Observe how your studio responds to the conflict reframing – relief, resistance, or discomfort can all be informative
|
|
||||||
- Watch the activity closely – are they able to use behaviourally-specific feedback or do they slide into judgments?
|
|
||||||
- Note whether anyone identifies conflicts they've been avoiding
|
|
||||||
- Pay attention to body language during the accountability discussion – who checks out? Who leans in?
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Check in with each studio member (even briefly, via Slack) about how the session landed
|
|
||||||
- Make sure they have the link to Baby Ghosts' [Conflict Resolution Policy](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Conflict+Resolution+Policy)
|
|
||||||
- If any studio member seems activated or upset, reach out directly. This session can surface real pain.
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Conflict Policy and Practice**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Baby Ghosts' [Conflict Resolution Policy](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Conflict+Resolution+Policy) and [Procedures](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Procedures/Conflict+Resolution+Procedures)
|
|
||||||
- Loving Justice framework reference
|
|
||||||
- Window of Transformation zones reference
|
|
||||||
|
|
||||||
|
|
||||||
### :world_map: **Context**
|
|
||||||
|
|
||||||
This PS meeting has two parts: (1) helping the studio name an avoided tension, and (2) reviewing the conflict resolution template together. The order matters – naming a real tension first gives the template review practical grounding. But read the room. If the tension-naming conversation goes deep, let it run and abbreviate the template review. The real work is the conversation, not the document.
|
|
||||||
|
|
||||||
This may be the most emotionally demanding PS meeting. Be prepared to hold space without trying to fix everything.
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Review the Baby Ghosts conflict resolution policy and procedures yourself – know the structure well enough to guide a discussion
|
|
||||||
- Reflect on what you observed during the session and the compensation discussion last week – is there an unresolved tension you've noticed?
|
|
||||||
- Check your own readiness. If you're carrying a lot from your own studio or personal life, be honest with yourself about your capacity to hold space today.
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"How are you feeling after that session? Anything stirred up?"
|
|
||||||
|
|
||||||
This isn't a throwaway question. Give it real space. If someone needs to talk, let them.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Name one avoided tension (15-20 min)**
|
|
||||||
|
|
||||||
:::warning
|
|
||||||
***This could be hard.*** Go gently but don't avoid it.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
"What conflict or tension has your studio been avoiding? It doesn't have to be big – small avoidances are actually great to examine."
|
|
||||||
|
|
||||||
**If no one speaks up immediately**, let the silence sit. Count to 15 in your head before you intervene. Then try:
|
|
||||||
|
|
||||||
- "Is there something you've been wanting to bring up but haven't found the right moment?"
|
|
||||||
- "Think back to the last few weeks. Was there a moment where something felt off but no one said anything?"
|
|
||||||
- "Are there any patterns from the Informal Hierarchy Check-In (Session 4) that you haven't addressed?"
|
|
||||||
|
|
||||||
**If something does come up:**
|
|
||||||
|
|
||||||
Help them practice the tools from the session:
|
|
||||||
|
|
||||||
1. **Behaviourally-specific feedback:** "What did you actually observe? What's the behaviour you can point to?"
|
|
||||||
2. **Stay on your side of the net:** "What was the impact on you? Separate that from what you think they intended."
|
|
||||||
3. **Loving Justice check:** "Is what you want to say brave? Kind? Honest? Humble?"
|
|
||||||
4. **Window of Transformation:** "Where are you right now? Where do you think the other person is? Is this a good time for this conversation?"
|
|
||||||
|
|
||||||
**If something big surfaces:**
|
|
||||||
|
|
||||||
Don't try to resolve it in this meeting. Help them decide:
|
|
||||||
|
|
||||||
- "Is this something you want to keep working through now, or does it need a dedicated conversation?"
|
|
||||||
- "Would it help to have a third party present when you continue this?"
|
|
||||||
- "What would make it safe enough to keep talking?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Review the conflict resolution template (15-20 min)**
|
|
||||||
|
|
||||||
Go through Baby Ghosts' policy together. For each section, ask:
|
|
||||||
|
|
||||||
- "Does this make sense for your studio?"
|
|
||||||
- "What would you change?"
|
|
||||||
- "What's missing?"
|
|
||||||
|
|
||||||
**Key areas to discuss:**
|
|
||||||
|
|
||||||
**Who initiates:** "In your studio, who would actually be the one to say 'we need to use the process'? Is it comfortable for everyone to do that, or would some people never initiate?"
|
|
||||||
|
|
||||||
**Documentation:** "How much documentation feels right? Too little and things get lost. Too much and it becomes punitive."
|
|
||||||
|
|
||||||
**Timelines:** "How quickly should you respond to a raised concern? What's realistic?"
|
|
||||||
|
|
||||||
**When resolution isn't reached:** "What happens if you go through the whole process and still can't agree? What's the last resort?"
|
|
||||||
|
|
||||||
**Escalation:** "Who's your third party? Another studio member? Your PS? Someone outside the program?"
|
|
||||||
|
|
||||||
They don't need to finalize a policy today. The goal is to identify what resonates, what needs adapting, and what gaps exist.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Close (5 min)**
|
|
||||||
|
|
||||||
- "What's one thing you want to commit to about how you handle conflict going forward?"
|
|
||||||
- "Is there anything from today's conversation that needs follow-up before next session?"
|
|
||||||
- Remind them: Session 8 is the last session. Encourage them to use this week to address anything unresolved.
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If no one wants to name a tension:
|
|
||||||
|
|
||||||
- Don't force it. "That's okay. The invitation stays open. Sometimes naming something takes longer. You can always come back to this."
|
|
||||||
|
|
||||||
If it gets heated:
|
|
||||||
|
|
||||||
- "Let's pause. Where is everyone right now?" (Use the Window of Transformation language.) "Is this a conversation we can have right now, or do we need to step back?"
|
|
||||||
|
|
||||||
If someone minimizes:
|
|
||||||
|
|
||||||
- "You said 'it's not a big deal' – but you brought it up. Can you say more about why it's on your mind?"
|
|
||||||
|
|
||||||
If someone deflects to structural issues to avoid interpersonal ones (or vice versa):
|
|
||||||
|
|
||||||
- "It can be both. What's the structural part, and what's the interpersonal part? Which one are you more comfortable talking about – and which one are you avoiding?"
|
|
||||||
|
|
||||||
If the template review feels abstract:
|
|
||||||
|
|
||||||
- "Think about the tension we just discussed. Would this process have helped? Where would it break down?"
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Note how the tension-naming went – did something real surface, or did the studio stay safe?
|
|
||||||
- Note how they responded to the conflict resolution template – did they engage or treat it as a formality?
|
|
||||||
- If any individual seems affected, follow up with them directly
|
|
||||||
- Bring observations to your PS check-in – especially anything that concerns you about studio dynamics
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- A studio that insists they have no conflicts – avoidance is not peace
|
|
||||||
- Someone who identifies a conflict but then immediately retracts: "never mind, it's fine"
|
|
||||||
- Conflict always attributed to one person – scapegoating
|
|
||||||
- Political framing used to avoid naming emotional experience (the emotional-political conflation trap from the session)
|
|
||||||
- A studio that wants the policy "just in case" but clearly has an active, unnamed conflict
|
|
||||||
- Someone who seems shut down or dissociated – check in with them privately after
|
|
||||||
- Performative agreement: "I'm fine with whatever the group decides" when they clearly aren't
|
|
||||||
|
|
@ -1,209 +0,0 @@
|
||||||
# 8: Self-Evaluation and Pathways
|
|
||||||
|
|
||||||
## **What happens in session**
|
|
||||||
|
|
||||||
The final session. Studios do a personal self-assessment (private) and a studio self-assessment (collective, shared with Baby Ghosts). The studio assessment rates seven areas on a 1-5 scale (from "Considering/Reflecting" to "First Draft of Documentation"): values/purpose/alignment, governance, decision-making/meetings, equitable economics, conflict/repair, program reflection, and what's next. The session covers post-program supports (Ghost Guild, workshops, PS recruitment, incorporation resources) and closes with a collaborative zine activity and group celebration.
|
|
||||||
|
|
||||||
|
|
||||||
:::info
|
|
||||||
This is a closing session. Your role is less about facilitating new content and more about helping your studio reflect honestly and plan for what comes next. The assessments are the core deliverable.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### :eyes: **Your role during session**
|
|
||||||
|
|
||||||
- Observe how your studio approaches the assessments – honest and reflective, or rushing through?
|
|
||||||
- During the studio assessment, note whether they're aligned on their ratings or if there's disagreement about where they actually are
|
|
||||||
- Watch for emotional responses during the closing – this program has been intense, and endings can surface unexpected feelings
|
|
||||||
- Participate in the zine activity and closing – you're part of this community
|
|
||||||
|
|
||||||
|
|
||||||
### 👆 **Your role after session**
|
|
||||||
|
|
||||||
- Make sure both assessments get completed (personal assessment individually, studio assessment together)
|
|
||||||
- Schedule a final PS meeting for this week to help them complete assessments and talk about next steps
|
|
||||||
- Make sure they understand Ghost Guild and post-program supports
|
|
||||||
|
|
||||||
|
|
||||||
:::tip
|
|
||||||
Your weekly PS sessions end after this week, but you're still part of the community. Many studios appreciate knowing you're available for occasional check-ins as they hit milestones or challenges.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
## **This week's Studio Support Meeting: Assessments and What's Next**
|
|
||||||
|
|
||||||
### **📚 Materials**
|
|
||||||
|
|
||||||
- Personal self-assessment form (each member should have their own copy)
|
|
||||||
- Studio self-assessment template (on studio Miro board)
|
|
||||||
- Community Rule draft from Session 5
|
|
||||||
- Any notes or documents the studio has created during the program
|
|
||||||
|
|
||||||
|
|
||||||
### :world_map: **Context**
|
|
||||||
|
|
||||||
This is your last formal PS meeting with this studio. The goal is to help them complete their assessments with honesty and specificity, and to set them up for continuing this work without you. Resist the urge to sugarcoat or wrap things up neatly. The most useful thing you can do is help them see clearly where they are – strengths and gaps alike.
|
|
||||||
|
|
||||||
|
|
||||||
### **👆 Before the session**
|
|
||||||
|
|
||||||
- Review your notes from the full program – what patterns have you noticed? What's shifted? What's stayed stuck?
|
|
||||||
- Review the studio's Community Rule draft, values map, and any other documents they've produced
|
|
||||||
- Prepare your own honest assessment of where the studio is – you'll use this to calibrate if their self-assessment seems off
|
|
||||||
- Think about what you want to say to this studio at the close. This matters.
|
|
||||||
|
|
||||||
|
|
||||||
### **🌊 Session flow**
|
|
||||||
|
|
||||||
#### **Check-in (5 min)**
|
|
||||||
|
|
||||||
"How are you feeling about the program ending? What's sitting with you?"
|
|
||||||
|
|
||||||
Let this be genuine. Some people will be relieved, some sad, some anxious about what comes next. All of those are valid.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Personal self-assessment (10-15 min)**
|
|
||||||
|
|
||||||
If they haven't completed the personal assessment yet, give them quiet time to work on it now.
|
|
||||||
|
|
||||||
This is private – you don't need to see it or discuss it. But you can offer:
|
|
||||||
|
|
||||||
- "Take your time with this. Be honest with yourself."
|
|
||||||
- "Where have you grown? Where do you still feel uncertain?"
|
|
||||||
- "What do you need from your collaborators that you haven't asked for yet?"
|
|
||||||
|
|
||||||
If they've already completed it, ask: "Was anything surprising when you reflected? Anything you want to share?"
|
|
||||||
|
|
||||||
|
|
||||||
#### **Studio self-assessment (20-25 min)**
|
|
||||||
|
|
||||||
Work through the seven areas together. For each, the studio rates themselves 1-5:
|
|
||||||
|
|
||||||
1. **Considering/Reflecting** – Thought about individually, not discussed as a team
|
|
||||||
2. **Discussing Collectively** – Talking together but no decisions
|
|
||||||
3. **Brainstorming** – Actively generating ideas and exploring options
|
|
||||||
4. **Sifting/Sorting** – Narrowing down, making choices, working toward alignment
|
|
||||||
5. **First Draft of Documentation** – Something written down – a policy, process, or shared agreement
|
|
||||||
|
|
||||||
**Go through each area:**
|
|
||||||
|
|
||||||
**1. Values, purpose & alignment**
|
|
||||||
|
|
||||||
- "Can each person name your studio's core values? Do those match?"
|
|
||||||
- "Do you have a documented values statement or Why/What/How?"
|
|
||||||
|
|
||||||
**2. Governance**
|
|
||||||
|
|
||||||
- "Where is your Community Rule draft? What's documented vs. still informal?"
|
|
||||||
- "Do you have a membership/removal process, even a rough one?"
|
|
||||||
|
|
||||||
**3. Decision-making & meetings**
|
|
||||||
|
|
||||||
- "Are you using a named framework? Rotating meeting roles?"
|
|
||||||
- "What decisions still happen by default?"
|
|
||||||
|
|
||||||
**4. Equitable economics**
|
|
||||||
|
|
||||||
- "Have you had the money conversations? Compensation, transparency, IP?"
|
|
||||||
- "What's decided vs. what's still avoided?"
|
|
||||||
|
|
||||||
**5. Conflict & repair**
|
|
||||||
|
|
||||||
- "Do you have a conflict process – even informal? Have you used it?"
|
|
||||||
- "What tension have you named? What's still unnamed?"
|
|
||||||
|
|
||||||
**6. Program reflection**
|
|
||||||
|
|
||||||
- "What worked about this program for you? What didn't?"
|
|
||||||
- "What do you wish had been different?"
|
|
||||||
|
|
||||||
**7. What's next**
|
|
||||||
|
|
||||||
- "What's your plan for revisiting governance and values after the program ends?"
|
|
||||||
- "Who's responsible for scheduling that?"
|
|
||||||
|
|
||||||
**Your role during this:**
|
|
||||||
|
|
||||||
If a rating seems inflated – gently push:
|
|
||||||
|
|
||||||
- "You rated governance a 4, but last week you hadn't discussed membership or removal. What's your thinking?"
|
|
||||||
|
|
||||||
If a rating seems deflated – acknowledge progress:
|
|
||||||
|
|
||||||
- "You rated conflict a 2, but you named and addressed a real tension two weeks ago. That's meaningful progress."
|
|
||||||
|
|
||||||
If there's disagreement on a rating – that's data:
|
|
||||||
|
|
||||||
- "You see yourselves differently on this one. That's worth exploring. What does each of you see?"
|
|
||||||
|
|
||||||
Capture the assessment on the Miro board.
|
|
||||||
|
|
||||||
|
|
||||||
#### **What's next (10-15 min)**
|
|
||||||
|
|
||||||
Help them make concrete plans:
|
|
||||||
|
|
||||||
- "When is your next governance review? Put it on the calendar right now."
|
|
||||||
- "Who's going to be your accountability partner for keeping up these practices?"
|
|
||||||
- "What's the first thing that will slip? How will you catch it?"
|
|
||||||
|
|
||||||
Talk about Ghost Guild and post-program supports. Make sure they know what's available.
|
|
||||||
|
|
||||||
If anyone is interested in becoming a PS for a future cohort, encourage them to talk to the program team.
|
|
||||||
|
|
||||||
|
|
||||||
#### **Close (5-10 min)**
|
|
||||||
|
|
||||||
This is your moment. Share what you've observed over the program – what you're proud of, what you're hopeful about, where you think they'll need to stay vigilant.
|
|
||||||
|
|
||||||
Be specific. "You've grown" is less useful than "In Session 2, no one would say what they actually needed financially. By Session 6, you had that conversation and it was hard but you did it."
|
|
||||||
|
|
||||||
Then let each studio member share something too:
|
|
||||||
|
|
||||||
- "What's something you're proud of from the program?"
|
|
||||||
- "What conversation did you have that you wouldn't have had otherwise?"
|
|
||||||
|
|
||||||
End with care. This matters.
|
|
||||||
|
|
||||||
|
|
||||||
### :star: **Tips**
|
|
||||||
|
|
||||||
If they rush through the assessment:
|
|
||||||
|
|
||||||
- "This is the last structured reflection you'll do with support. Take the time – it's worth it."
|
|
||||||
|
|
||||||
If they rate everything high:
|
|
||||||
|
|
||||||
- "I'm glad you feel good about your progress. Can I push on a couple of these? I want to make sure the assessment is useful to you going forward."
|
|
||||||
|
|
||||||
If they rate everything low:
|
|
||||||
|
|
||||||
- "You've done more than you think. Let me reflect back what I've seen over these weeks."
|
|
||||||
|
|
||||||
If they're anxious about the program ending:
|
|
||||||
|
|
||||||
- "The structures you've built are real. The tools don't disappear. And the Ghost Guild community is there for you."
|
|
||||||
|
|
||||||
If emotions come up:
|
|
||||||
|
|
||||||
- Let them. This is appropriate. Don't rush past it.
|
|
||||||
|
|
||||||
|
|
||||||
### **🏁 After the session**
|
|
||||||
|
|
||||||
- Ensure the studio assessment is submitted (goes to Baby Ghosts)
|
|
||||||
- Ensure each person has completed or will complete their personal assessment
|
|
||||||
- Share your own PS observations with the program team – what this studio needs going forward, what to watch for, where they're strong
|
|
||||||
- Thank the studio. Mean it.
|
|
||||||
|
|
||||||
|
|
||||||
## :triangular_flag_on_post: **Red flags to watch for**
|
|
||||||
|
|
||||||
- A studio that can't complete the assessment because they disagree on where they are – this reveals deeper alignment issues
|
|
||||||
- Rushing through to "get it done" – avoidance of reflection
|
|
||||||
- Ratings that don't match what you've observed – denial or lack of self-awareness
|
|
||||||
- No plan for continuing governance practices after the program – high risk of drift
|
|
||||||
- One person taking responsibility for everything post-program – that's not a coop
|
|
||||||
- Signs that the program surfaced issues the studio hasn't resolved – make sure the program team knows
|
|
||||||
File diff suppressed because one or more lines are too long
|
|
@ -1,48 +0,0 @@
|
||||||
# Pre-program: Onboarding and Prep
|
|
||||||
|
|
||||||
# **Your first Studio Support Meetings**
|
|
||||||
|
|
||||||
|
|
||||||
:::info
|
|
||||||
Use this list to get a baseline read on your studio. These are things to *notice and gently explore* over your first couple of conversations. No need to interrogate, and you don't need to go through all of them.
|
|
||||||
|
|
||||||
:::
|
|
||||||
|
|
||||||
|
|
||||||
### **Relational foundation**
|
|
||||||
|
|
||||||
- How long have they known each other? Have they made anything together before?
|
|
||||||
- How do they currently make decisions? (Note who answers this question.)
|
|
||||||
- What happens when they disagree?
|
|
||||||
- Has anyone left a previous collaboration? What happened?
|
|
||||||
- Who's doing most of the talking right now? Who's quiet?
|
|
||||||
- Is there evidence of trust (or trust-building potential) in the group?
|
|
||||||
|
|
||||||
|
|
||||||
### **Capacity and commitment**
|
|
||||||
|
|
||||||
- Is everyone working on this full-time, part-time, or around day jobs?
|
|
||||||
- Are time contributions roughly equal? If not, how are they thinking about that?
|
|
||||||
- What happens if someone needs to step back or leave?
|
|
||||||
- Who has business/admin skills? Financial literacy? Project management?
|
|
||||||
- Is there openness about strengths *and* limitations?
|
|
||||||
|
|
||||||
|
|
||||||
### **Game related**
|
|
||||||
|
|
||||||
- Where is the project at? (Concept, prototype, production, shipped?)
|
|
||||||
- Who holds the creative vision? Is that shared or concentrated?
|
|
||||||
- Have they discussed IP ownership yet?
|
|
||||||
- What are the core disciplines in the group? (art, code, design, audio, writing, production?)
|
|
||||||
- What's missing? Are they aware of the gaps?
|
|
||||||
- Has anyone worked in games professionally before? In what capacity?
|
|
||||||
|
|
||||||
|
|
||||||
#### **What you're doing with this information:**
|
|
||||||
|
|
||||||
- Building your own picture of the studio's dynamics, strengths, and risk areas.
|
|
||||||
- You don't need to resolve anything yet, just notice.
|
|
||||||
- Bring observations to your PS check-in.
|
|
||||||
|
|
||||||
|
|
||||||
*Credit:* **Effective Practices in Starting Co-ops** *and Christine Clarke of __[Freedom Dreams](https://www.freedomdreamscoop.com/)__ for inspiration/starting points.*
|
|
||||||
|
|
@ -1,191 +0,0 @@
|
||||||
# Session 0: Kickoff + Onboarding
|
|
||||||
|
|
||||||
*Peer Supports: See **PS Guide: Session 0** for pre-session tasks.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Tag Yourself activity
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 2 min
|
|
||||||
|
|
||||||
Session 0 orients us to the shared work ahead. This opening session grounds participants in the purpose and structure of the program while setting the tone for a peer-driven, care-centred space.
|
|
||||||
|
|
||||||
We'll begin building the relational trust and shared accountability that will carry us through the following 8 sessions. We'll reflect on our own privileges and lived experiences. By the end of this session, we'll have a shared understanding of how we'll learn together. This is the beginning of practicing cooperation together.
|
|
||||||
|
|
||||||
"The most important thing is if there's **trust** between the people in the group because that's what carries it through." - Russ Christianson
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Agenda
|
|
||||||
|
|
||||||
### Welcome, land acknowledgement, values - 10 min
|
|
||||||
|
|
||||||
- Quick round: name, pronouns, location, why you're here
|
|
||||||
- Acknowledge land and virtual space, and share our values
|
|
||||||
- We acknowledge and thank all those who have struggled for workers’ rights and racial, economic, and environmental rights and emancipation
|
|
||||||
- We are recording this session for team members who can't attend
|
|
||||||
- Please post questions as we go in the chat
|
|
||||||
- Opportunity to ask more questions during Q&A at end
|
|
||||||
- If you have any access needs, put it in the chat or DM @jennie or @eileen
|
|
||||||
|
|
||||||
### Participant intros - 15 min (3 mins each)
|
|
||||||
|
|
||||||
1. Each team says hello - have one person talk for the team and the others chime in the chat with:
|
|
||||||
- name, pronouns, location
|
|
||||||
2. Tell us about your game - *briefly*
|
|
||||||
- can share pictures in the chat if you want
|
|
||||||
3. Biggest studio pain point *right now*
|
|
||||||
|
|
||||||
### Peer Support team intros - 5 min
|
|
||||||
|
|
||||||
- Who is paired with who
|
|
||||||
- What Peer Support sessions look like
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Where you are: The co-op development journey - 10 min
|
|
||||||
|
|
||||||
**SLIDE: Coop Journey Map** *(visual showing: pre-formation to formation to operation)*
|
|
||||||
|
|
||||||
First, let's look at the statistics:
|
|
||||||
|
|
||||||
- Small business startup success rate: ~20% (8 in 10 fail)
|
|
||||||
- Cooperative startup success rate: ~40% (6 in 10 fail)
|
|
||||||
- Co-ops significantly outperform conventional startups – but it's still not a guarantee
|
|
||||||
|
|
||||||
**You're still going against the odds. But it's a worthwhile thing to do, because you learn so much.**
|
|
||||||
|
|
||||||
Being a co-op improves your odds, it doesn't eliminate risk.
|
|
||||||
|
|
||||||
This program focuses on **pre-formation** - the relational and governance groundwork that determines whether your co-op will thrive or struggle.
|
|
||||||
|
|
||||||
Most resources out there focus on the legal and operational stuff: how to incorporate, how to file paperwork, how to structure bylaws. That matters, of course! But it's not where studios fail.
|
|
||||||
|
|
||||||
Studios fail because of unspoken assumptions about money, time, and commitment; wishy-washy and undocumented governance; conflict avoidance; unexamined power dynamics
|
|
||||||
|
|
||||||
This program exists to build the foundation *before* you incorporate. By the end of this program, you'll have shared values that you know how to put into action. We'll walk you through designing and practicing cooperative governance structures. You'll know how to decide *how to decide*! and we'll test low-stakes decisions. And you'll have drafted conflict tools ready for when (NOT IF!) tensions arise.
|
|
||||||
|
|
||||||
**You are here:** Pre-formation and building your relational infrastructure
|
|
||||||
|
|
||||||
**What comes after:** Incorporation support, ongoing community (Ghost Guild), and continued learning. We'll talk about pathways in Session 8.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Program overview - 10 min
|
|
||||||
|
|
||||||
- Program schedule, session themes, and format
|
|
||||||
- Gamma Space / Slack explanation
|
|
||||||
- Slack structure: main channel(s), cohort channels, project channels, random and other general channels
|
|
||||||
- Expectations for engagement (Slack reflections, homework, participation)
|
|
||||||
- How to participate
|
|
||||||
- How to book with us
|
|
||||||
- Review accessibility practices (captions, breakout choices, asynchronous options)
|
|
||||||
- Tools we'll use (Miro, Slack Canvas, Huddles)
|
|
||||||
|
|
||||||
*Note: Much of this info will also live in a Slack Canvas for reference.*
|
|
||||||
|
|
||||||
This program will give you tools to notice when informal hierarchy forms, have hard conversations about money, power, and expectations, make decisions collectively, and navigate conflict as valuable data. It will NOT make you hierarchy-free, tell you exactly how to structure your co-op, eliminate disagreement, or do the hard conversations for you. *We're here to support you, but the work is yours.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Friction is part of the work - 5 min
|
|
||||||
|
|
||||||
Before we build our community agreements, we want to chat about something that has come up in every previous cohort.
|
|
||||||
|
|
||||||
This program will ask you to have hard conversations - about money, about power, about what you actually want from this collaboration. Some of those conversations will be *uncomfortable*. You might discover that your group is less aligned on values than you assumed. You might have disagreements you've never had before. Someone might go radio silent, and someone might get defensive.
|
|
||||||
|
|
||||||
Examples:
|
|
||||||
|
|
||||||
- "I've been doing most of the work and I'm starting to resent it."
|
|
||||||
- "We said we'd share decisions equally, but one person always gets the final word."
|
|
||||||
- "I thought we agreed on this, but I actually don't think I had a real say."
|
|
||||||
- "I can only commit 10 hours a week and you're working 40 - how do we make that fair?"
|
|
||||||
- “I want to leave the studio.”
|
|
||||||
|
|
||||||
This is normal. This is the work!
|
|
||||||
|
|
||||||
We bring these questions up to normalize friction. And because unspoken assumptions are where studios fall apart. The friction you feel now, when the stakes are low and you have support, is infinitely better than discovering it later when you're under deadline pressure or financial strain.
|
|
||||||
|
|
||||||
A few things to reframe…
|
|
||||||
|
|
||||||
- Discomfort often means something important is coming up.
|
|
||||||
- Disagreement tells you something isn't clear and gives you an opportunity to include more people.
|
|
||||||
- If everything feels easy, you might not be going deep enough.
|
|
||||||
|
|
||||||
We're here to support you through the hard parts - that's what Peer Supports are for. But we can't do the hard conversations for you.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Commitment and permission - 5 min
|
|
||||||
|
|
||||||
Let's talk about what commitment actually means in this program.
|
|
||||||
|
|
||||||
Time - About 2-3 hours per week (sessions + homework + Studio Support meetings). Some weeks will be heavier. If you can't make a session, let us know - recordings are available, but live participation is really important.
|
|
||||||
|
|
||||||
Openness - This work asks you to be vulnerable with your collaborators: To say what you actually think, to hear things you might not want to hear - this will take energy and might be unfamiliar. Give it your best shot.
|
|
||||||
|
|
||||||
Money - You're receiving a grant as part of this program. That comes with accountability - to yourself, your studio, and the cohort.
|
|
||||||
|
|
||||||
Purpose - Why does your studio need to be a co-op? Not "why are co-ops good" but what specific problem does working cooperatively solve for you that you couldn't solve another way?
|
|
||||||
|
|
||||||
You have permission to leave early - If you realize partway through that this isn't the right time, or this isn't the right team, or you need to step back - that's okay. It's better to face that than to go through the motions. We'd rather you make an honest choice for yourself.
|
|
||||||
|
|
||||||
Leaving isn't failure. *Sometimes it's the most cooperative thing you can do.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Code of conduct & community agreements - 15 min
|
|
||||||
|
|
||||||
Now let's build some shared agreements for how we'll be together.
|
|
||||||
|
|
||||||
We'll start with a few agreements and build from there. We are naming what we *need* to do the hard work together.
|
|
||||||
|
|
||||||
**Activity:** Collective drafting via Miro
|
|
||||||
|
|
||||||
- We'll start with a few prompts
|
|
||||||
- Add your own via stickies
|
|
||||||
- Emoji reactions
|
|
||||||
- We won't finalize today - we'll revisit and refine
|
|
||||||
|
|
||||||
**Starter prompts:**
|
|
||||||
|
|
||||||
- What do you need to feel safe raising a concern?
|
|
||||||
- What helps you stay present when things get uncomfortable?
|
|
||||||
- How do you want to be supported when you're struggling?
|
|
||||||
- What makes you feel able to jump into a conversation?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Activity: Power Flower overview - 10 min
|
|
||||||
|
|
||||||
Your first piece of individual work is a reflection on your own power and privilege.
|
|
||||||
|
|
||||||
**Power Flower** - a tool for mapping the identities and experiences you bring into this space.
|
|
||||||
|
|
||||||
This is private and for your own reflection. Baby Ghosts won't see it. Your studio won't see it unless you choose to share. We'll use it as a jumping-off point in Session 1.
|
|
||||||
|
|
||||||
- What lived experiences or identities shape how you enter this space?
|
|
||||||
- What kinds of influence or resources (social, economic, relational) do you carry?
|
|
||||||
- Where do you need support?
|
|
||||||
- What hopes or expectations are you bringing into this program?
|
|
||||||
|
|
||||||
Complete this in your private Miro board before Session 1.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Closing - 5 min
|
|
||||||
|
|
||||||
- Each person shares one intention or hope for the program
|
|
||||||
- Reminders: next session prep, Slack channels to check, Power Flower homework
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Complete your Power Flower** – Use the template in your private Miro board. Reflect on the identities, experiences, and forms of power you bring into this space. This is just for you – we'll use it as a jumping-off point in Session 1.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,271 +0,0 @@
|
||||||
# Session 1: Coop Principles and Power
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Slide: Tag Yourself activity
|
|
||||||
- Slide: Anonymous feedback form reminder
|
|
||||||
|
|
||||||
---
|
|
||||||
## Intro - 3 min
|
|
||||||
|
|
||||||
Working in an environment that focuses solely on shipping, profit, and growth denies us the opportunity to practice our values collectively. Worse, the outcome of those capitalist values is exploitation and dehumanization of everyone but whoever is at the top of the org chart. How can we connect with our deepest-held values to shape collective practices that challenge this harmful hierarchy?
|
|
||||||
|
|
||||||
We have some guidance to start with: The principles adopted in 1995 by the International Cooperative Alliance (ICA), which now form the ethical foundation for cooperative work around the world and are deeply reflected in cooperative history and practice in the Global South. We'll trace a line from these principles to your personal and shared values, and then to what cooperative practice can look like in your context.
|
|
||||||
|
|
||||||
Through this work, we can create a culture that stands up to extraction and burnout, and practice something different in its place.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Agenda
|
|
||||||
|
|
||||||
Today we’ll be talking about:
|
|
||||||
|
|
||||||
- How to cooperate (cooperative capacities)
|
|
||||||
- Coop histories/lineages
|
|
||||||
- The ICA cooperative principles
|
|
||||||
- How to move from the principles to values
|
|
||||||
|
|
||||||
### Check-in - 5 min
|
|
||||||
|
|
||||||
*Thinking back on the Power Flower reflection you did...*
|
|
||||||
|
|
||||||
- what's one thing you noticed about yourself that you hadn't named before?
|
|
||||||
- no need to share details, unless you are compelled! Just notice what came up
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Cooperation is a skill, not a trait - 5 min
|
|
||||||
|
|
||||||
We've been socially and economically shaped by systems that reward competition, individual achievement, and hierarchy. Most of us were just never taught *how* to cooperate.
|
|
||||||
|
|
||||||
"Most human beings have a natural propensity to cooperate." -- Russ Christianson, *Effective Practices in Starting Co-ops*
|
|
||||||
|
|
||||||
The capacity exists. We already practice solidarity economics in daily life without calling it that when we contribute to a GoFundMe or babysit our neighbour's kids. But these practices get buried under what Black economist Jessica Gordon Nembhard calls "the assumptions of neo-liberal capitalist ideology."
|
|
||||||
|
|
||||||
Can cooperation be recovered and practiced until it's reliable?
|
|
||||||
|
|
||||||
That's what this program is for. We're not here to convince you cooperation is good. Pretty sure you already know that. We're here to build the muscle and to practice until cooperative decision-making becomes your default.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### The skills of cooperation - 7 min
|
|
||||||
|
|
||||||
So what does "cooperation is a skill" actually mean? *What* are the skills?
|
|
||||||
|
|
||||||
We're going to introduce tools throughout this program, but tools only work if you have the *underlying capacities* to use them. A consensus process doesn't help if no one can sit with discomfort long enough to hear a dissenting view.
|
|
||||||
|
|
||||||
Here's what we'll be practicing:
|
|
||||||
|
|
||||||
**Active listening**
|
|
||||||
This means unlearning the tendency to simply wait for your turn to talk. It means actually focusing on the other person and trying to understand what they really mean, especially when you disagree. One practice to support this is reflecting back what you hear. You can also take notes.
|
|
||||||
|
|
||||||
**Honest communication**
|
|
||||||
Without making accusations, say what you actually think, and use "I" statements. The purpose is to open conversation up wider.
|
|
||||||
|
|
||||||
**Perspective-taking**
|
|
||||||
Your collaborators experience situations differently from you, and from each other. Try to put yourself in their position/mindset and hear what they are telling you about what they are feeling.
|
|
||||||
|
|
||||||
**Emotional self-regulation**
|
|
||||||
It can be difficult, without prior practice, to stay present when things get uncomfortable instead of shutting down, lashing out, or agreeing just to make the tension stop. Notice discomfort and choose how to respond rather than just reacting.
|
|
||||||
|
|
||||||
**Self-awareness about your patterns in groups**
|
|
||||||
Do you talk first? Go quiet when you disagree? Say yes to avoid tension? Take over tasks because it's faster than explaining? Notice your ingrained habits!
|
|
||||||
|
|
||||||
**Giving and receiving feedback**
|
|
||||||
This is a tough one for a lot of people. When you have a concern, do you hedge so much it disappears? And when you hear critical feedback, do you get defensive or collapse? Both directions are skills. Look at feedback as a *gift*.
|
|
||||||
|
|
||||||
None of these are natural talents, but all of them can be practiced. In fact, you'll be practicing them throughout this program, starting next session!
|
|
||||||
|
|
||||||
*Sources: Munro, "United we stand: fostering cohesion in activist groups," Interface 13(1), 2021*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Cooperative lineages – and whose knowledge gets credited - 10 min
|
|
||||||
|
|
||||||
The foundational principles of cooperatives are rooted in survival. But the Rochdale Pioneers of 1844, often credited as cooperative "founders," didn't invent cooperation – they simply codified practices that had existed for millennia. We’ll cover those principles in a minute, but first let’s talk about the longer lineages of cooperative history.
|
|
||||||
|
|
||||||
- Indigenous communities worldwide practiced mutual aid, collective resource management, and consensus decision-making long before European contact. Many Indigenous governance systems also held space for Two-Spirit people in leadership and decision-making roles.
|
|
||||||
- Enslaved and formerly enslaved Black communities in the Americas created mutual aid societies, burial societies, and informal credit systems out of necessity and survival
|
|
||||||
- Women formed cooperative childcare networks, domestic worker collectives, and community support systems -- often invisible and uncredited
|
|
||||||
- Immigrant communities built cooperative stores, housing, and financial institutions when mainstream systems excluded them
|
|
||||||
- Queer and trans communities built mutual aid networks, collective housing, and care systems - often out of crisis. Marsha P. Johnson and Sylvia Rivera's STAR (Street Transvestite Action Revolutionaries) in 1970s New York provided communal shelter, food, and support for homeless trans youth of colour, organized entirely on principles of shared responsibility and collective care
|
|
||||||
- During the AIDS crisis, queer communities created cooperative care networks, buyers' clubs to share medication, and mutual aid funds when governments and institutions abandoned them
|
|
||||||
|
|
||||||
*The Combahee River Collective - Black lesbian feminists organizing in the 1970s - articulated what we now call intersectionality. Cooperative movements have always been strongest when they refuse to separate one axis of liberation from another*
|
|
||||||
|
|
||||||
[TODO-IMAGE-01: Cooperative history image. By Roseleechs – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=119409579]
|
|
||||||
|
|
||||||
The Rochdale Pioneers formalized these practices into a movement. But when we credit them as "founders," we invisibilize the communities who developed and sustained cooperative practices for generations under conditions of oppression.
|
|
||||||
|
|
||||||
Source: *Locating the Contributions of the African Diaspora in the Canadian Co-operative Sector* [WIKILINK-01: needs URL] Additional info: [Indigenous Governance and Tomorrow's Democracy](https://www.colorado.edu/lab/medlab/2025/07/28/indigenous-governance-and-tomorrows-democracy-join-conversation)
|
|
||||||
|
|
||||||
This matters for us because you may already hold cooperative knowledge. It could be in your family, your culture, your community.
|
|
||||||
|
|
||||||
Consider your own "cooperative lineage":
|
|
||||||
|
|
||||||
- Did you grow up with childcare swaps, community gardens, or potlucks?
|
|
||||||
- How did your family handle resources when money was tight? Who did they turn to?
|
|
||||||
- What decision-making traditions come from your culture?
|
|
||||||
- Have you been part of a band or community organization that shared resources or made decisions collectively?
|
|
||||||
|
|
||||||
Or:
|
|
||||||
|
|
||||||
- Why did you become interested in forming a cooperative?
|
|
||||||
|
|
||||||
Most of these practices go unnamed as "cooperative" but they are part of a long, global, grassroots, and informal tradition.
|
|
||||||
|
|
||||||
There are many types of cooperatives (coop housing, community land trusts, community financing like credit unions, worker cooperatives like you’re trying to build) – but also barter clubs, fair trade, solidarity markets.
|
|
||||||
[TODO-IMAGE-02: Types of cooperatives/solidarity economy image from art.coop]
|
|
||||||
|
|
||||||
Cooperatives are expansive and we can add skills to your toolkit!
|
|
||||||
|
|
||||||
Share one cooperative practice from your experience in the chat. *And pay attention to what values are present.*
|
|
||||||
|
|
||||||
### Small groups -- mixed studios (3-4 people) - 15 min
|
|
||||||
|
|
||||||
- Share your cooperative lineage story
|
|
||||||
- What values were present in that experience?
|
|
||||||
- Each group identifies 3-5 values they heard across their stories
|
|
||||||
- What need brought your studio together? What were you each missing that cooperation addresses?
|
|
||||||
|
|
||||||
Brief large group share - 5 min: Each group shares 1-2 values they identified.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## The 7 Cooperative Principles - 10 min
|
|
||||||
|
|
||||||
The values you just named have been recognized and formalized by cooperative movements worldwide. In 1995, the International Cooperative Alliance adopted these 7 principles that now guide cooperative work globally.
|
|
||||||
|
|
||||||
*For each principle, consider: How might your co-op incorporate this principle? What policies or practices would bring it to life?*
|
|
||||||
|
|
||||||
### 1. Voluntary and Open Membership
|
|
||||||
|
|
||||||
Cooperatives are voluntary organizations, open to anyone able to use their services and willing to accept the responsibilities of membership, without gender, social, racial, political or religious discrimination.
|
|
||||||
|
|
||||||
### 2. Democratic Member Control
|
|
||||||
|
|
||||||
Cooperatives are democratic organizations controlled by their members, who actively participate in setting their policies and making decisions. Your board of directors is accountable to the membership. Each member has one vote.
|
|
||||||
|
|
||||||
- *How will the co-op balance this with the reasonable interests of different classes of members?*
|
|
||||||
|
|
||||||
### 3. Member Economic Participation
|
|
||||||
|
|
||||||
Members contribute equitably to, and democratically control, the capital of their cooperative.
|
|
||||||
|
|
||||||
- *Consider the share values, annual fees, fees-for-services, and other financial commitments that members will have to meet.*
|
|
||||||
|
|
||||||
### 4. Autonomy and Independence
|
|
||||||
|
|
||||||
Cooperatives are autonomous, self-help organizations controlled by their members. If they enter into agreements with other organizations, including governments, or raise capital from external sources, they do so on terms that ensure democratic control by their members and maintain their cooperative autonomy.
|
|
||||||
|
|
||||||
- *What policies are needed around contracts, hiring contractors, accepting donations, or taking investment?*
|
|
||||||
|
|
||||||
### 5. Education, Training, and Information
|
|
||||||
|
|
||||||
Cooperatives provide education and training for their members, elected representatives, managers, and employees so they can contribute effectively to the development of their cooperatives.
|
|
||||||
|
|
||||||
- *What education is needed about the rights and responsibilities of membership? About other topics related to your coop's activities?*
|
|
||||||
|
|
||||||
### 6. Cooperation Among Cooperatives
|
|
||||||
|
|
||||||
Cooperatives serve their members most effectively and strengthen the cooperative movement by working together through local, national, regional, and international structures.
|
|
||||||
|
|
||||||
### 7. Concern for Community
|
|
||||||
|
|
||||||
Cooperatives work for the sustainable development of their communities through policies approved by their members.
|
|
||||||
|
|
||||||
Summary source: *A People-Centred Path for a Second Cooperative Decade* [WIKILINK-02: needs URL] - ICA 2020
|
|
||||||
|
|
||||||
Nobody carved the 7 Principles into stone tablets and carried them down the mountain. The ICA has revised the principles three times - in 1937, 1966, and 1995 - because cooperative practice changes. You don't have to follow the rules perfectly to be a coop. But hold on to the core: democratic control, shared ownership, and surplus flowing to workers based on their labour. Everything else can be adapted to your studio's capacity and interests.
|
|
||||||
|
|
||||||
### The values beneath the principles
|
|
||||||
|
|
||||||
The principles give us structure. The values give us *why*. The International Cooperative Alliance summarizes it this way:
|
|
||||||
|
|
||||||
*"Cooperatives are based on the values of self-help, self-responsibility, democracy, equality, equity and solidarity. In the tradition of their founders, cooperative members believe in the ethical values of honesty, openness, social responsibility and caring for others."*
|
|
||||||
|
|
||||||
These are commitments to how we treat each other.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## From principles to your values - 3 min
|
|
||||||
|
|
||||||
What values guide *your* work or collective efforts?
|
|
||||||
|
|
||||||
Values are *beliefs* that motivate us to*act* one way or another. They guide our behaviour.
|
|
||||||
|
|
||||||
We each adopt values from a combination of our upbringing, the communities we are part of, the dominant culture, and other influences in our lives. Just like an individual's values guide how that person acts, organizational values guide how the *group* acts and makes decisions collectively.
|
|
||||||
|
|
||||||
Values also define scope and ethical constraints.
|
|
||||||
|
|
||||||
[Sociocracy 3.0: Agree on Values](https://patterns.sociocracy30.org/agree-on-values.html)
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### How do we collaborate when we mean different things? - 2 min
|
|
||||||
|
|
||||||
Words are vague, communication is fraught, and we're all coming in from different backgrounds. The best thing we can do to support the cooperative principles of collaboration is to try and find common ground.
|
|
||||||
|
|
||||||
Where do we meet each other? And how do we build from there?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework - 10 min
|
|
||||||
|
|
||||||
1. **Journal about your values** – What values guide your work or collective efforts? Your values can be discovered through observation. Your task isn't to decide what matters to you, but to notice what already does.
|
|
||||||
- What holds your attention without effort?
|
|
||||||
- What do you find yourself doing when no one is watching?
|
|
||||||
- What topics consistently generate strong emotional responses?
|
|
||||||
- When have you felt most alive or fulfilled?
|
|
||||||
|
|
||||||
1. **Do the team values map with your Peer Supports** – Use your PS session to do the values mapping exercise as a team. Where do you align? Where do you differ?
|
|
||||||
|
|
||||||
2. **Prep individually for "The Talk" (Session 2)** – Next session, you'll practice having direct conversations about money, time, skills, and decision-making with your collaborators. Reflect on these questions – **write your answers down** before we meet. Try to time-box to about 5 minutes per section.
|
|
||||||
|
|
||||||
**Financial reality:**
|
|
||||||
|
|
||||||
- How much do you need to make monthly to participate in this studio?
|
|
||||||
- What's your current financial capacity to contribute?
|
|
||||||
- How important is immediate income vs. long-term equity?
|
|
||||||
|
|
||||||
**Time and availability:**
|
|
||||||
|
|
||||||
- What's your actual time availability per week?
|
|
||||||
- What are your non-negotiable boundaries?
|
|
||||||
- How do you handle competing priorities?
|
|
||||||
|
|
||||||
**Skills and contributions:**
|
|
||||||
|
|
||||||
- What do you excel at vs. what drains you?
|
|
||||||
- Where do you want to grow vs. where you're already expert?
|
|
||||||
- How do you prefer to contribute when you're overwhelmed?
|
|
||||||
|
|
||||||
**Decision-making styles:**
|
|
||||||
|
|
||||||
- How do you prefer to make decisions under pressure?
|
|
||||||
- When do you need more information vs. when do you trust your gut?
|
|
||||||
- How do you handle disagreement?
|
|
||||||
|
|
||||||
And finally: **Does being part of this studio make you feel something? What is that feeling?**
|
|
||||||
|
|
||||||
Adapted from Obvious Agency's "The Talk" worksheet.
|
|
||||||
|
|
||||||
*These are for **you** first. You'll share with your team in Session 2.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 5 min
|
|
||||||
|
|
||||||
We've identified values that guide us individually and found connections to cooperative principles. But now comes the hard part: How do we actually *practice* these values together?
|
|
||||||
|
|
||||||
It might seem easy and fun to chat about these ideas with your collaborators, but until you are in conflict, or under financial or deadline pressure, you don't really know how everyone will hold on to those values.
|
|
||||||
|
|
||||||
Studios built around a shared problem - "we can't afford to make games alone," "we refuse to work in exploitative conditions again" - tend to hold together under that pressure. Studios built around a shared *aesthetic* preference for cooperation sometimes don't. Try to notice which one is yours.
|
|
||||||
|
|
||||||
The industry tells us to brute force our way through these situations – with the boss ultimately "resolving" the issue the way they want, probably guided by "move fast and figure it out later." But cooperative work requires something different. What Indigenous organizer Ruth Łchav'aya K'isen Miller calls "patience for the pace of trust."
|
|
||||||
|
|
||||||
Next session, we'll explore what it actually takes to align with collaborators beyond just sharing values on a Miro board. Even the closest friends can discover they have very different expectations about work, money, and decision-making when those conversations inevitably come up.
|
|
||||||
|
|
||||||
Use your Peer Support session this week to start talking about your values as a team.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,192 +0,0 @@
|
||||||
# Session 2: Shared Purpose and Alignment
|
|
||||||
|
|
||||||
## Welcome - 5 min
|
|
||||||
|
|
||||||
- Slide: Tag Yourself
|
|
||||||
- Slide review: What we've learned so far
|
|
||||||
- we've learned the history of cooperatives, the principles, and how we each know these practices from our own lineages
|
|
||||||
- we've identified our personal values and started mapping them as teams
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 10 min
|
|
||||||
|
|
||||||
"Patience for the pace of trust."
|
|
||||||
|
|
||||||
- Ruth Łchav'aya K'isen Miller (Dena'ina Athabaskan, Curyung Tribe), co-founder of Smokehouse Collective
|
|
||||||
|
|
||||||
*Ruth Łchav'aya K'isen Miller, "[An Alaska Native mutual aid network tackles the climate crisis](https://www.hcn.org/issues/56-1/food-an-alaska-native-mutual-aid-network-tackles-the-climate-crisis/)," High Country News, 2024.*
|
|
||||||
|
|
||||||
*via Burton, Antoinette. [“Moving at the Speed of Trust”? Course Correction Needed](https://visiblemagazine.com/moving-at-the-speed-of-trust-course-correction-needed/)*
|
|
||||||
*VISIBLE Magazine, 5 Dec. 2024*
|
|
||||||
|
|
||||||
There is no set pace or speed at which this work should happen. Resisting external time pressures can cost opportunities or just make you feel an anxious sense of FOMO. But taking the time to move in concert with your collaborators, building shared understanding and purpose, will set the foundation for work that lasts and relationships that can hold complexity.
|
|
||||||
|
|
||||||
The industry normalizes crunch, exploitation, and toxic competition as "just how games are made." These practices are in perfect opposition to those that ensure the stability and long-term sustainability of a studio. They are also the main failure point of the industry, destroying amazing teams and causing a ripple effect of harm.
|
|
||||||
|
|
||||||
Many indies assume that because they are friends (or share political values) that they'll naturally work well together. But being pals and being aligned politically does not mean you share **work** values, **decision-making** styles, or **financial** expectations. Without putting intentional time and effort into alignment, even the closest relationships can crumble when those difficult conversations inevitably come up.
|
|
||||||
|
|
||||||
In a cooperative, instead of a boss solving problems through their authority, democracy becomes everyone's responsibility. Liberating? Terrifying? Yes. Why? Because *most of us were never taught the skills required to work collectively.*
|
|
||||||
|
|
||||||
This session will focus on moving slowly and with intention to create the conditions where disagreement can arise *without destruction*. We will look at some practical skills to guide conversations you might have with your actual collaborators.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Agenda
|
|
||||||
|
|
||||||
### Check-in - 10 min
|
|
||||||
|
|
||||||
Two prompts:
|
|
||||||
|
|
||||||
1. *from your team's values mapping: what's one thing you learned about where your team aligns or diverges*
|
|
||||||
2. *what's one assumption you've made about working with others that turned out to be wrong?*
|
|
||||||
|
|
||||||
Share in the chat or unmute if you’re comfortable.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### The alignment challenge - 15 min
|
|
||||||
|
|
||||||
We often assume we know the main goals for our projects, or think we have common language to describe scale and pace. We don't realize we may not be equally committed, or that we have different boundaries.
|
|
||||||
|
|
||||||
A big red flag is this attitude: "We're all friends, we never fight, we'll just figure it out as we go." More than friendship is required to set a foundation of true trust and solidarity in a cooperative. We have seen more studios fail due to interpersonal/values conflicts than lack of funding or creative/technical issues.
|
|
||||||
|
|
||||||
Once you start to do this work, you may realize you are not as aligned as you thought you were, and that's okay! However, try to examine why there is disagreement or how organizational power may be playing a role.
|
|
||||||
|
|
||||||
- In traditional studios, **the boss decides** when there's disagreement.
|
|
||||||
- In cooperatives, unresolved misalignment can become **paralysis**.
|
|
||||||
|
|
||||||
#### Common pitfalls
|
|
||||||
|
|
||||||
- "We all just want to make good games" - don't we all! Too vague.
|
|
||||||
- assuming shared politics = shared work values (activism != cooperative governance)
|
|
||||||
- rushing past uncomfortable conversations like money and centralized power
|
|
||||||
- defaulting to traditional studio roles
|
|
||||||
|
|
||||||
#### Creating safety for hard conversations
|
|
||||||
|
|
||||||
- not everyone needs identical commitment levels - **you can all be different!!**
|
|
||||||
- better to get conflicts out in the open early than let them fester, even if it feels scary
|
|
||||||
- focus on systems
|
|
||||||
|
|
||||||
#### Alignment != agreement
|
|
||||||
|
|
||||||
**Alignment** - Shared understanding of direction, *even with different motivations*
|
|
||||||
|
|
||||||
**False consensus** - Agreeing to avoid conflict (recipe for resentment)
|
|
||||||
|
|
||||||
**Healthy disagreement** - Different perspectives within shared values framework
|
|
||||||
|
|
||||||
Today we'll practice three core conversations…
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Activity: "The Talk" - 35 min
|
|
||||||
|
|
||||||
*Adapted from "The Talk: A Tool for Putting Values and Real Lives at the Forefront of Work" by Deen Rawlins (Obvious Agency), with modifications by Daniel Park*
|
|
||||||
|
|
||||||
In your studio channels, with your Peer Support, practice these conversations.
|
|
||||||
|
|
||||||
### Facilitation setup
|
|
||||||
|
|
||||||
You've each thought about these questions individually (Session 1 homework). Now you're sharing with your team. The goal isn't to solve everything today - it's to get the conversation started. You'll keep picking up these threads in your Peer Support sessions.
|
|
||||||
|
|
||||||
- When someone is speaking, listen. Hold responses until discussion time.
|
|
||||||
- There are no wrong answers
|
|
||||||
- Don't try to avoid discomfort. That's the good stuff.
|
|
||||||
|
|
||||||
Format for each round:
|
|
||||||
|
|
||||||
- Each person answers in turn (1.5-2 min each)
|
|
||||||
- Use the Miro timer
|
|
||||||
- After everyone answers, brief open discussion
|
|
||||||
- Then move to next round
|
|
||||||
|
|
||||||
You won't come to a conclusion today. You'll have a chance to talk about these topics with us and your Peer Supports throughout the program.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Round 1: Financial reality - 8 min
|
|
||||||
|
|
||||||
- How much do you need to make monthly to participate?
|
|
||||||
- What's your current financial capacity to contribute?
|
|
||||||
- How important is immediate income vs. long-term equity?
|
|
||||||
|
|
||||||
[FACIL-01: See facilitator guide for observation notes]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Round 2: Time & availability - 8 min
|
|
||||||
|
|
||||||
- What's your actual time availability?
|
|
||||||
- What are your non-negotiable boundaries?
|
|
||||||
- How do you handle competing priorities?
|
|
||||||
|
|
||||||
[FACIL-02: See facilitator guide for observation notes]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Round 3: Skills & contributions - 8 min
|
|
||||||
|
|
||||||
- what do you excel at vs. what drains you?
|
|
||||||
- where do you want to grow vs. where you're already expert?
|
|
||||||
- how do you prefer to contribute when you're overwhelmed?
|
|
||||||
|
|
||||||
[FACIL-03: See facilitator guide for observation notes]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Round 4: Decision-making styles - 6 min
|
|
||||||
|
|
||||||
- How do you prefer to make decisions under pressure?
|
|
||||||
- When do you need more information vs. when do you trust your gut?
|
|
||||||
- How do you handle disagreement?
|
|
||||||
|
|
||||||
[FACIL-04: See facilitator guide for observation notes]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Debrief - 5 min
|
|
||||||
|
|
||||||
[FACIL-05: See facilitator guide]
|
|
||||||
|
|
||||||
What surprised you? Where did you notice alignment? Where did you notice difference/divergence?
|
|
||||||
|
|
||||||
You probably noticed that a lot came up – and that's okay! We're going to keep talking about each of these areas as we go. All we did today is get the convo going. There's lots more work to do.
|
|
||||||
|
|
||||||
Remember: success for your studio is defined by your needs and values, not the industry's.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 5 min
|
|
||||||
|
|
||||||
Reflect (can share or just think):
|
|
||||||
|
|
||||||
- what are some of the tension points that came up during The Talk?
|
|
||||||
- what's one conversation you now realize you need to have with your collaborators?
|
|
||||||
- how might you redefine success to fit the needs of your studio?
|
|
||||||
|
|
||||||
Next session, we'll take the values you've identified and turn principles into practices you can actually use when decisions get hard.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Continue "The Talk" in your PS session** – Go deeper on whichever round brought up the most tension or uncertainty.
|
|
||||||
|
|
||||||
2. **Reflect individually on tension points** – Write down:
|
|
||||||
- something that surprised you about a teammate's answer
|
|
||||||
- one place where you felt tension but didn't say anything
|
|
||||||
- a question you wish you'd asked but didn't
|
|
||||||
|
|
||||||
Bring these to your PS session. You don't have to share them with your full team yet.
|
|
||||||
|
|
||||||
3. **Think through scale and pace individually** – Before your next PS session, take some time to think through where you see your studio in 1/3/5 years. How many people on the team? One game? Multiple? What platforms? What are your goals – sustainability? Growth? Other measures of success?
|
|
||||||
|
|
||||||
Then ground it in reality: who are your players? (Do you know?) What's your revenue model? (Game sales? Services? Grants? Mix?) Can this sustain you? For how long?
|
|
||||||
|
|
||||||
We're not here to kill dreams. Just like any business, a cooperative needs a viable revenue plan. A studio that is not economically viable isn't sustainable, no matter how good the values are. Because if you don't have that, you don't have anything else.
|
|
||||||
|
|
||||||
Bring your notes to your PS session. You'll use these as a starting point for ongoing conversations about shared language and alignment around scale, pace, and what success looks like for your studio.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,196 +0,0 @@
|
||||||
# Session 3: Actionable Values and Impact
|
|
||||||
|
|
||||||
*Peer Supports: See **PS Guide: Session 3** for pre-session tasks.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Slide: Tag Yourself activity
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 3 min
|
|
||||||
|
|
||||||
Over the last two sessions, we've covered **WHY** cooperatives matter to game developers who are challenging toxic industry norms, **WHAT** we want to build through shared purpose and values, and now we will dive into the **HOW**: The day-to-day tools you need to make democratic work... work! These tools are *technologies for liberation*, and every small step we take toward collectivism matters.
|
|
||||||
|
|
||||||
You've identified your values (Session 1) and started aligning with your collaborators (Session 2). But values on paper (or in your Miro board) don't prevent burnout or resolve conflict. This session introduces two tools to make values operational. Something you can return to when decisions get hard.
|
|
||||||
|
|
||||||
With these tools, we can change our work relationships immediately by choosing:
|
|
||||||
|
|
||||||
- consent over coercion
|
|
||||||
- transparency over secrecy and gatekeeping
|
|
||||||
- collective care over competition
|
|
||||||
- slow over fast
|
|
||||||
- horizontal over hierarchical
|
|
||||||
|
|
||||||
### Check-in - 5 min
|
|
||||||
|
|
||||||
Last session you practiced The Talk and worked on scale and pace definitions with your team.
|
|
||||||
|
|
||||||
*what's a tension that came up - something that surprised you, or that you're still thinking about?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Case study from PS Presenter - 10 min
|
|
||||||
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Scenarios - 15 min
|
|
||||||
|
|
||||||
So let's practice. We'll give you two scenarios. *Start with your values before you jump to the solution.*
|
|
||||||
|
|
||||||
**Scenario 1:** Someone is really excited about your studio and really wants to join, but you don't have funding to pay them. They claim that they just want experience. How do you handle this?
|
|
||||||
|
|
||||||
**Scenario 2:** A high-profile client who is legit and proven to have the funding wants to commission you to make art for them using generative AI. Your studio is at an early stage where getting clients at all is challenging. What do you do?
|
|
||||||
|
|
||||||
*Take 3–4 minutes to discuss each scenario. Remind them: Start with your values before you jump to the solution. What values came up? How did they shape the conversation?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Tying your values to practices - 5 min
|
|
||||||
|
|
||||||
You've identified values. You've had hard conversations about alignment. But how do values actually show up day-to-day?
|
|
||||||
|
|
||||||
Values that live only in a document or a Miro board don't prevent burnout, resolve conflict, or guide decisions under pressure. The gap between "we value transparency" and *actually practicing* transparency is where most studios struggle.
|
|
||||||
|
|
||||||
They also don't hold your studio together when someone asks "why are we even doing this?" In a Ghost Guild session after the program, we will work on public narrative - the practice of telling the story of why your studio exists in a way that actually moves people. For now, just notice: When you're working through Why/What/How, your "Why" is the beginning of that story. Hold tight to it!
|
|
||||||
|
|
||||||
This section introduces two tools to close that gap:
|
|
||||||
|
|
||||||
1. **Why/What/How framework** - for turning values into concrete practices. You’ll work on this with your Peer Supports.
|
|
||||||
2. **Layers of Effect** - for checking whether potential outcomes from your actions match your intentions
|
|
||||||
|
|
||||||
Both tools give you something to return to when decisions get hard, when you're under deadline pressure, or when you realize you've drifted from what you said mattered.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Tools and frameworks
|
|
||||||
|
|
||||||
*for practicing values and assessing impact*
|
|
||||||
|
|
||||||
### Why/What/How framework - 10 min
|
|
||||||
|
|
||||||
#### Using the framework
|
|
||||||
|
|
||||||
**First, identify the problem, decision, activity to analyse.**
|
|
||||||
|
|
||||||
The *order matters*: Why, then What, then How. And your values should guide all three levels.
|
|
||||||
|
|
||||||
**WHY** - Why does this value matter to us? What's at stake? Example: "We value transparency because secrecy entrenches power and excludes people from decisions that affect them."
|
|
||||||
|
|
||||||
**WHAT** - What does practicing this value look like? What are we committing to? Example: "All financial information is accessible to all members. Compensation is open."
|
|
||||||
|
|
||||||
**HOW** - How will we actually do this? What specific activities or outputs? Example: "Monthly financial summaries shared in Slack. Quarterly budget review meetings. New members oriented to finances in onboarding."
|
|
||||||
|
|
||||||
You’ll work on this one more with your Peer Supports!
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Layers of Effect - 25 min
|
|
||||||
|
|
||||||
The second tool helps you see impact before (and after) you act.
|
|
||||||
|
|
||||||
**Layers of Effect** is a framework for mapping the ripple effects of your decisions - both intended and unintended. It's adapted from an exercise by UX designer Kat Zhou.
|
|
||||||
|
|
||||||
[Miro template](https://miro.com/templates/layers-effect-template/) [FACIL-08: add to studio boards]
|
|
||||||
|
|
||||||
#### How it works
|
|
||||||
|
|
||||||
The framework uses three concentric rings:
|
|
||||||
|
|
||||||
**Primary Effects** (centre ring) These are the *fundamental intentions* behind your activity - the direct, immediate impacts you're trying to create. For instance, a cooperative might focus on equitable profit sharing among all members, or prioritize sustainable and fair labour practices.
|
|
||||||
|
|
||||||
*Questions to ask:*
|
|
||||||
|
|
||||||
- What direct benefits will people experience?
|
|
||||||
- Who might be immediately excluded or harmed?
|
|
||||||
- What vulnerabilities are we creating?
|
|
||||||
- What breaks immediately?
|
|
||||||
|
|
||||||
**Secondary Effects** (middle ring) These are *known but perhaps not immediately obvious* impacts. An example could be the cooperative's influence on promoting diversity and inclusion in the games industry, or its role in advocating for mental health awareness through its games and community interactions.
|
|
||||||
|
|
||||||
*Questions to ask:*
|
|
||||||
|
|
||||||
- How could positive behaviours spread through networks?
|
|
||||||
- What dependencies or new risks are we introducing?
|
|
||||||
- Who bears the burden of adaptation?
|
|
||||||
- What erodes over months?
|
|
||||||
|
|
||||||
**Tertiary Effects** (outer ring) These involve *unforeseen consequences* that arise from your activities. This might include setting new industry standards for ethical game development, or inadvertently creating a platform for global collaboration and cultural exchange among developers and players.
|
|
||||||
|
|
||||||
*Questions to ask:*
|
|
||||||
|
|
||||||
- What industry standards could this establish?
|
|
||||||
- What long-term societal impacts might emerge?
|
|
||||||
- Which communities or ecosystems pay the price?
|
|
||||||
- What shifts over years?
|
|
||||||
|
|
||||||
#### At each layer, think about:
|
|
||||||
|
|
||||||
- Who gains?
|
|
||||||
- Who pays?
|
|
||||||
- Who's invisible but affected?
|
|
||||||
|
|
||||||
*As effects move outward, who becomes responsible for unintended consequences?*
|
|
||||||
|
|
||||||
#### Using colour to map effects
|
|
||||||
|
|
||||||
On the template:
|
|
||||||
|
|
||||||
- Yellow = opportunities and benefits
|
|
||||||
- Red = risks and costs
|
|
||||||
|
|
||||||
These might be connected - a benefit in one layer can create a risk in another.
|
|
||||||
|
|
||||||
#### How to use it
|
|
||||||
|
|
||||||
- Before decisions:
|
|
||||||
- map potential effects to anticipate consequences
|
|
||||||
- To course-correct:
|
|
||||||
- when something feels off, check whether your effects are matching your values
|
|
||||||
- To refine values:
|
|
||||||
- if you keep seeing the same unintended consequences, your values might need updating!
|
|
||||||
|
|
||||||
*We'll walk through a Baby Ghosts example (or presenter's example) so you can see this in action.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Activity: Identify one decision - 5 min
|
|
||||||
|
|
||||||
Each studio identifies one upcoming **decision** they could run through either tool this week with their Peer Support.
|
|
||||||
|
|
||||||
This doesn't need to be a big decision. Small decisions work well for practice.
|
|
||||||
|
|
||||||
Share your decision in your studio channel before you leave today.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Recap - 5 min
|
|
||||||
|
|
||||||
**To recap:**
|
|
||||||
|
|
||||||
- Start with your individual and collective values - talk them over
|
|
||||||
- Talk about the WHY before you get to the WHAT and HOW
|
|
||||||
- Use Layers of Effect to see if your impact is matching your values
|
|
||||||
|
|
||||||
We've covered a lot of topics here, but they are all centred around the goal of making sure your values are more than just lip-service.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 5 min
|
|
||||||
|
|
||||||
*Which tool are you most curious to try?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Apply Layers of Effect to an upcoming decision** – Use the Miro template on your studio board. Walk through: what are the primary, secondary, and tertiary effects? Who gains, who pays, who's invisible but affected?
|
|
||||||
|
|
||||||
2. **Work through Why/What/How with your Peer Supports** – Start with at least one value from your team's values map.
|
|
||||||
|
|
||||||
3. **Discuss as a studio** – How often should you revisit your values and check whether your effects match your intentions?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,332 +0,0 @@
|
||||||
# Session 4: Decision-Making in Practice
|
|
||||||
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Slide: Tag Yourself
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 2 min
|
|
||||||
|
|
||||||
You've identified your values and started making them actionable. But when the pressure is on and you need to make a call together, who decides? How? In traditional studios, the boss decides or the loudest voice wins. Cooperatives need different approaches that include everyone while still moving forward.
|
|
||||||
|
|
||||||
This session is about noticing your *current* patterns and practicing alternatives. Before we can design governance structures (next session), we need to see clearly how decisions actually happen now.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Check-in - 10 min
|
|
||||||
|
|
||||||
Last session you practiced Layers of Effect on a decision. What did you notice when you tried to connect your values to a specific decision? Was it easier or harder than expected?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Decision-making - 25 min
|
|
||||||
|
|
||||||
### Who gets to raise issues? - 6 min
|
|
||||||
|
|
||||||
The old way of making decisions is the boss decides for everyone, or majority rules. But coops use different approaches that include everyone while still moving projects forward.
|
|
||||||
|
|
||||||
But before we look at different methods for decision-making, let's talk about **when** and**why** decisions need to be made.
|
|
||||||
|
|
||||||
In traditional structures, only managers can put items on meeting agendas. Only certain people can say "we need to decide this." Everyone else has to hope someone with authority notices the problem.
|
|
||||||
|
|
||||||
In a cooperative, **anyone affected by an issue** can bring it to the group. But we need systems so important things don't get lost and small things don't overwhelm us.
|
|
||||||
|
|
||||||
**Activity: Private journaling (3 min)**
|
|
||||||
|
|
||||||
- What decisions get made without asking anyone?
|
|
||||||
- What issues do you notice but can't formally raise?
|
|
||||||
- When do you wish you could say "hey, we should all talk about this"?
|
|
||||||
- What traits/behaviours get valued in your group? (e.g., fast processing, availability, wittiness, technical skills)
|
|
||||||
|
|
||||||
Where do cooperative decision-making opportunities come from? From members raising issues. Here are some examples:
|
|
||||||
|
|
||||||
- Proposals
|
|
||||||
- *I think we should do X. Here's why and how. What does everyone think?*
|
|
||||||
- Check-ins
|
|
||||||
- *How is everyone feeling about Y? Should we address this formally?*
|
|
||||||
- Process intervention
|
|
||||||
- *Can we try a different approach?*
|
|
||||||
- Values checks
|
|
||||||
- *How do these options align with our values?*
|
|
||||||
|
|
||||||
But **who** makes decisions? When determining who will make a decision, ask:
|
|
||||||
|
|
||||||
- Who is most affected by that decision?
|
|
||||||
- Does it have far-reaching consequences for the entire cooperative (like a change to who can be a member), or does it mainly affect a specific discipline/person/team?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Tool introduction: Informal Hierarchy Check-In - 5 min
|
|
||||||
|
|
||||||
*inspired by Fuck Hierarchy! by [Yejin Lee](https://www.jeongllc.com/aboutyejin)*
|
|
||||||
|
|
||||||
Studios should do a periodic check-in to assess how they are doing around informal hierarchy. These questions help you notice patterns before they become de facto process:
|
|
||||||
|
|
||||||
**Who spoke most in our last meeting?** This reveals voice distribution - whose contributions dominate discussions.
|
|
||||||
|
|
||||||
**Whose idea did we go with by default?** This reveals deference patterns - whose suggestions get adopted without much scrutiny.
|
|
||||||
|
|
||||||
**Who knows how to do *X* that no one else knows?** This reveals knowledge concentration - where expertise creates dependency.
|
|
||||||
|
|
||||||
**What happened last time someone disagreed?** This reveals dissent tolerance - whether pushback is welcomed or punished.
|
|
||||||
|
|
||||||
**Whose schedule shapes our meeting times?** This reveals whose needs get centred - who the group accommodates and who has to adjust.
|
|
||||||
|
|
||||||
You don't need to feel guilty if some of these questions point to you! For the group, it's important to *notice* patterns before they calcify.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Decision-making steps - 7 min
|
|
||||||
|
|
||||||
Whatever framework you use, cooperative decision-making involves choosing between options together. Consider these steps:
|
|
||||||
|
|
||||||
1. Name the decision and who it affects. Be clear about what's actually being decided and whose voices need to be included.
|
|
||||||
2. Understand the context. What's happening? What do people feel and notice about this situation? *Emotions are rich information.*
|
|
||||||
3. Identify the underlying need. What are we actually trying to address here?
|
|
||||||
4. Generate options together. What approaches might work? Encourage unconventional (weird!) ideas. Notice who's contributing: Are the same people always first to speak? Whose ideas get picked up and built on?
|
|
||||||
5. Check alignment with your values. How do these options fit with who you want to be as a studio?
|
|
||||||
6. Evaluate consequences collectively. Who benefits, who's affected, what trade-offs exist? Notice whose preferences are shaping the conversation and whether anyone has gone quiet.
|
|
||||||
7. Decide using your chosen framework. *Name the method* (consent, consensus, etc.) before you begin. Before finalizing, pause and ask directly: "Does anyone have concerns they haven't voiced?" or "Is anyone agreeing just to move on?" Give time for people to respond, especially those who process more slowly or tend to stay quiet. Silence doesn't mean agreement.
|
|
||||||
8. Clarify implementation and revisit. Who does what? When will you check back to see if adjustments are needed?
|
|
||||||
|
|
||||||
*Adapted from Effective Practices in Starting Co-ops*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Handling dissent - 5 min
|
|
||||||
|
|
||||||
When someone raises a concern late in the process, don't get frustrated that they are slowing the process down. *This is **super valuable** information!* Thank them for speaking up! It's not an easy thing to do, even for a contrarian (well, maybe).
|
|
||||||
|
|
||||||
Then consider: Is this a clarification or modification that can be addressed quickly? Or does it point to something more fundamental that means the group isn't ready to decide? If the concern is substantial, revisit earlier steps (especially 2, 3, or 5).
|
|
||||||
|
|
||||||
Watch for language like "I guess I can live with it" or "I don't want to hold everyone up," which show that someone is just giving in to move things along rather than really consenting. *A decision that leaves someone feeling steamrolled will cost more in trust and cohesion than the time it takes to slow down.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Frameworks - 14 min
|
|
||||||
|
|
||||||
Different decisions call for different approaches. Here are five common frameworks:
|
|
||||||
|
|
||||||
### Consensus - 7 min
|
|
||||||
|
|
||||||
Everyone agrees that the selected option is the right option. Members can block a decision if it is not their top choice (even if they'd be ok with it).
|
|
||||||
|
|
||||||
"It's important to remember that **no decision-making structure can prevent all conflict or power dynamics, or guarantee that we will never be frustrated or bored or decide to part ways.** But consensus decision-making at least helps us avoid the worst costs of hierarchies and majority rules, which can include abuse of power, demobilization of most people, and inefficiency. **Consensus decision-making** gives us the best chance to hear from everyone concerned, address power dynamics, and make decisions that represent the best wisdom of the group and that people in the group will want to implement." – Dean Spade, [*Mutual Aid: Building Solidarity During This Crisis (and the Next)*](https://theanarchistlibrary.org/library/dean-spade-mutual-aid#toc14)
|
|
||||||
|
|
||||||
Consensus decision-making is the most effective way to make important decisions with small groups. The process requires direct participation and active listening from all involved and, when well facilitated, leads to better decisions and stronger commitment.
|
|
||||||
|
|
||||||
**Core principles:**
|
|
||||||
|
|
||||||
- All participants contribute
|
|
||||||
- Everyone's opinions are used and encouraged
|
|
||||||
- Differences are viewed as helpful rather than hindering
|
|
||||||
- Those members who continue to disagree after full discussion indicate that they are willing to experiment for a prescribed period of time
|
|
||||||
- Enough time will be spent that all voices are heard and understood before an effort to finalize a decision is made, however long that takes
|
|
||||||
- All members share in the final decision
|
|
||||||
|
|
||||||
**Advantages:**
|
|
||||||
|
|
||||||
- Members are more likely to support the decision
|
|
||||||
- Provides for a win-win solution
|
|
||||||
- Facilitates open communication
|
|
||||||
- Requires members to listen and understand all sides of the issue
|
|
||||||
- Sets the stage for action: Who, What, Where, When
|
|
||||||
|
|
||||||
**Disadvantages:**
|
|
||||||
|
|
||||||
- Takes more time in a group; the larger the group, the more time may be needed
|
|
||||||
- Trust is needed among members to encourage sharing
|
|
||||||
- Group leaders must use facilitation rather than control
|
|
||||||
|
|
||||||
**Steps in facilitating consensus:**
|
|
||||||
|
|
||||||
1. Describe and define the problem, situation, or issue
|
|
||||||
2. Brainstorm a list of alternatives without judging, discussing, or rejecting any ideas
|
|
||||||
3. Take only one idea from each person to start
|
|
||||||
4. Review, change, consolidate, rewrite, and set priorities as a group through discussion
|
|
||||||
5. Make a decision; when it's reached make sure it is written so that everyone can see it
|
|
||||||
6. Evaluate the results later - revise if needed
|
|
||||||
|
|
||||||
*Source: Russ Christianson (Effective Practices in Starting Co-ops, p. 470\) and Washington State University Cooperative Extension*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Consent - 5 min
|
|
||||||
|
|
||||||
Consent helps us find an option that everyone is okay with, even if it's not their first choice. The decision statement must be carefully worded so that everyone is crystal clear on what they are consenting to.
|
|
||||||
|
|
||||||
The question in consent is: "Is this good enough for now, safe enough to try?"
|
|
||||||
|
|
||||||
This is different from consensus. In consensus, everyone must actively agree that the decision is the right choice. In consent, the bar is lower: No one has a paramount objection. You're asking "Can you live with this? Does it violate your values or cause harm you can't accept?" rather than "Do you love this?"
|
|
||||||
|
|
||||||
Consent also protects against the opposite problem: Rigidity. When a group treats past decisions as permanent – "but we already agreed to make an RPG" – it can become impossible to adapt when things change. Consent-based decisions are explicitly *revisitable*. The question isn't just "can you live with this?" but also "can you live with this *for now*, knowing we'll check back?" If someone is blocking a revisit of an old decision, that's worth examining – are they protecting a genuine value, or has the original decision become an identity they can't let go of?
|
|
||||||
|
|
||||||
Sociocracy is one approach to this. Sociocratic organizations use a peer governance system based on consent, where work is organized into semiautonomous small groups, known as circles. Sociocracy has a very specific formal structure for consent decision-making. We'll link to its process so you can check it out.
|
|
||||||
|
|
||||||
[Consent Decision Making – Sociocracy 3.0](https://patterns.sociocracy30.org/consent-decision-making.html)
|
|
||||||
|
|
||||||
Consent makes room for experimentation. If a decision doesn't work, you can always revisit it. This prevents analysis paralysis while still hearing everyone's concerns.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Other frameworks - 2 min
|
|
||||||
|
|
||||||
**Majority/democratic:** Each member votes, and the option with the most votes wins (simple majority, two-thirds, etc.). If your group uses formal voting, consider Democratic Rules of Order over Robert's Rules – same structure (chair, agenda, motions, votes) but without the procedural layers that create knowledge asymmetry and can be exploited as a power dynamic. Robert's Rules are arcane, parliamentary, and not appropriate for democratic organizations. Steer clear!
|
|
||||||
|
|
||||||
**Delegation:** The member with the most expertise makes the decision – but how is this person determined? Through a decision!
|
|
||||||
|
|
||||||
**Random chance:** When no one wants to decide, use a tool that generates a random yea or nay. A dice roll, coin flip – something like that.
|
|
||||||
|
|
||||||
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Meetings - 25 min
|
|
||||||
|
|
||||||
Most meetings suck because they're designed hierarchically (one person talks, decisions happen elsewhere later). We're going to redesign them horizontally!
|
|
||||||
|
|
||||||
### Preparation for an inclusive meeting - 3 min
|
|
||||||
|
|
||||||
1. Use accessible tools for finding everyone's availability (Doodle, When2Meet, LettuceMeet, etc.)
|
|
||||||
2. Keep the meeting duration as short as you can while covering the agenda. Remember, participants' energy levels will fluctuate and you don't want to go so long that people get cranky. If you have too much ground to cover, consider moving some items to an asynchronous method like Slack threads or moving it to the agenda of a future meeting.
|
|
||||||
3. Prepare and share the agenda with time limits per item.
|
|
||||||
4. Assign roles and ensure they are rotated from previous meetings.
|
|
||||||
|
|
||||||
Let's talk about meeting roles!
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Meeting roles - 10 min
|
|
||||||
|
|
||||||
Meeting roles shouldn't be static. When the same person always facilitates, their style becomes "how we do meetings." Rotation (rotation! rotation! we can't emphasize this enough) builds shared skills and prevents informal hierarchy from becoming default process.
|
|
||||||
|
|
||||||
#### Facilitator
|
|
||||||
|
|
||||||
Guides the conversation and keeps things on track. The facilitator's job is to *help the group's wisdom emerge* rather than act as an expert on the topics. They should self-moderate their own input and be especially conscious of not being the strongest voice.
|
|
||||||
|
|
||||||
They also pay attention to group dynamics – such as, who hasn't spoken? Is someone checked out? Is tension building? (Some folks break this last responsibility into a*process/vibes observer* role, which may be especially helpful when trying out new decision-making methods.)
|
|
||||||
|
|
||||||
**Tips:**
|
|
||||||
|
|
||||||
- Before opening the floor, you can provide some quiet time for participants to write their thoughts down first
|
|
||||||
- Using "popcorn" style means anyone can jump in to share without a formal queue. Avoid selecting people to speak randomly – this can be stressful for those who do not wish to be called on. If multiple people indicate they want to speak, keep track of the queue and update the group.
|
|
||||||
- Share the floor. The facilitator makes sure that everyone gets heard and included, and no one dominates the discussion. They might intervene: "Jennie, we've heard a lot from you and I want to give some others a chance to share their perspectives."
|
|
||||||
- Provide regular process updates – that is, say what you're doing: "I'm going to take a few ideas, then we'll discuss"
|
|
||||||
- Listen actively and deeply
|
|
||||||
- Reflect back ideas that are shared and check with the speaker that you understand. This is an opportunity to synthesize what you just heard with the wider conversation to help everyone's understanding.
|
|
||||||
- Put ideas for later in the parking lot
|
|
||||||
- Red flags: rushing process and not tolerating awkwardness
|
|
||||||
- Check in with energy levels, especially when you see people are flagging. A 5- or 10-minute break might help perk everyone up to continue.
|
|
||||||
- Have prompts on hand if things go awry:
|
|
||||||
- "I am noticing the tension. Should we pause and address that first?"
|
|
||||||
- "I feel like we're going in circles/getting stuck – let's try a different approach."
|
|
||||||
- "Let's pause for a moment and look at our process."
|
|
||||||
|
|
||||||
#### Notetaker/minutes goblin
|
|
||||||
|
|
||||||
Captures attendance, most important points, decisions made, and action items. Good notes include *who decided what* and *why*, not just discussion summaries. This creates accountability that doesn't depend on memory.
|
|
||||||
|
|
||||||
#### Timekeeper/time baby
|
|
||||||
|
|
||||||
Tracks time for each agenda item and gives warnings when time is running low. Helps the group decide whether to extend, table, or wrap up.
|
|
||||||
|
|
||||||
Not every meeting needs all three roles, but rotating whatever roles you use prevents one person from becoming the de facto leader.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
**HOT TIP: Not everything needs to be a meeting!** Meetings can also be a drain on a team. Consider when you can turn something into an asynchronous conversation or just have people assigned with tasks.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### The "genius" trap - 3 min
|
|
||||||
|
|
||||||
When one person holds most of the knowledge, makes most of the creative calls, or is the only one who knows how something works, this is not a coop. You have a traditional studio with extra steps. This often emerges from who had time/was there first/whose skills were most visible at the start.
|
|
||||||
|
|
||||||
Questions to help you spot role concentration:
|
|
||||||
|
|
||||||
- who would we call if [X system] broke?
|
|
||||||
- whose absence would completely halt production?
|
|
||||||
- who "just handles" things that others don't fully understand?
|
|
||||||
|
|
||||||
If the same name keeps coming up, you have a capacity risk *and* a governance risk.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Role distribution != role rigidity - 3 min
|
|
||||||
|
|
||||||
Cooperative roles should be:
|
|
||||||
|
|
||||||
Visible
|
|
||||||
|
|
||||||
- everyone knows who's responsible for what
|
|
||||||
- assigned through discussion, not assumption
|
|
||||||
- reviewed periodically as capacity and skills change
|
|
||||||
|
|
||||||
This doesn't mean everyone does everything. Specialization is fine. The problem is when roles become permanent defaults that no one chose explicitly.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Tracking and micro-documentation - 5 min
|
|
||||||
|
|
||||||
*Nobody* loves tracking. (OK, maybe that biohacker guy Brian Johnson.) But when you don't document, institutional knowledge lives in one person's head, and that's how informal hierarchy gets baked in.
|
|
||||||
|
|
||||||
Micro-documentation means capturing just enough that others can:
|
|
||||||
|
|
||||||
- pick up where you left off
|
|
||||||
- understand why a decision was made
|
|
||||||
- notice patterns over time
|
|
||||||
|
|
||||||
This doesn't require elaborate systems. It can be:
|
|
||||||
|
|
||||||
- a shared doc/sheet where decisions get logged with date and rationale
|
|
||||||
- brief async updates ("here's what I did and why")
|
|
||||||
- meeting notes that include *who decided what*, not just discussion summaries
|
|
||||||
|
|
||||||
**When you track decisions and contributions visibly, you create accountability that doesn't depend on memory or who speaks loudest.**
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Activity: Facilitation rotation practice - 15 min
|
|
||||||
|
|
||||||
In groups of three, each take a turn as facilitator, participant, and observer.
|
|
||||||
|
|
||||||
The facilitator will run a short discussion on a simple question (we'll give you one).
|
|
||||||
|
|
||||||
**Sample questions:**
|
|
||||||
|
|
||||||
- What game should we play together?
|
|
||||||
- What time during the week should we meet?
|
|
||||||
- Which two video game soundtracks should we swap?
|
|
||||||
- What type of team activity should we do?
|
|
||||||
|
|
||||||
The observer watches for dynamics: Who spoke first? How did the facilitator handle silence? How was the decision reached?
|
|
||||||
|
|
||||||
Rotate roles every 3 minutes.
|
|
||||||
|
|
||||||
**Debrief (4 min):** What did you notice from each role? What was harder than expected?
|
|
||||||
|
|
||||||
*Noticing dynamics is the most important thing here.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 2 min
|
|
||||||
|
|
||||||
You've practiced frameworks and started noticing patterns – who speaks, who defers, whose defaults became the group's. These patterns *are* your governance, whether you've named it or not.
|
|
||||||
|
|
||||||
Next session, we'll look at formal structures: How do you design governance that supports the decision-making practices you want and addresses the dynamics you noticed?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework - 3 min
|
|
||||||
|
|
||||||
1. **Practice one decision-making framework on a real decision** – Try consent or consensus on something that actually matters, even if it's small.
|
|
||||||
|
|
||||||
2. **Map your current role distribution** – Where did each role assignment come from: Explicit decision, or implicit default?
|
|
||||||
|
|
||||||
3. **Complete the Informal Hierarchy Check-In as a studio** – Work through the 5 questions together. Bring your observations to Session 5.
|
|
||||||
|
|
||||||
4. **Notice this week: where do decisions happen?** – In meetings? DMs? Who's present?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,311 +0,0 @@
|
||||||
# Session 5: Coop Structures and Governance
|
|
||||||
|
|
||||||
*Peer Supports: See **PS Guide: Session 5** for pre-session tasks.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Slide: Tag Yourself
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 3 min
|
|
||||||
|
|
||||||
Last session you practiced decision-making frameworks and noticed your current patterns. Those patterns *are* your governance, whether you've called it that or not.
|
|
||||||
|
|
||||||
You don't need to incorporate in order to practice governance. But the structures you choose now will shape what kind of co-op you become. This session is about making that governance visible and intentional.
|
|
||||||
|
|
||||||
## Check-in - 5 min
|
|
||||||
|
|
||||||
*what did the informal hierarchy check-in reveal about your studio? anything surprising?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Coop vs Business - 10 min
|
|
||||||
|
|
||||||
Before we talk about governance, let's quickly cover the legal landscape. You don't need to incorporate right now, but understanding the options helps you design governance that fits your eventual structure.
|
|
||||||
|
|
||||||
### Common structures for game studios
|
|
||||||
|
|
||||||
| Structure | Who owns it? | Who decides? | Who benefits? |
|
|
||||||
| :---- | :---- | :---- | :---- |
|
|
||||||
| sole proprietorship | One person | That person | That person |
|
|
||||||
| Partnership | partners (often unequal shares) | usually based on ownership % | based on ownership % |
|
|
||||||
| corporation | shareholders | board (elected by shareholders) | shareholders (via dividends) |
|
|
||||||
| worker cooperative | workers (equal or near-equal) | workers (one member, one vote) | workers (based on labour, not capital) |
|
|
||||||
|
|
||||||
### What makes a coop legally distinct?
|
|
||||||
|
|
||||||
Three things:
|
|
||||||
|
|
||||||
- Democratic control
|
|
||||||
- One member, one vote. Not weighted by how much money you put in.
|
|
||||||
- Member ownership
|
|
||||||
- The people who work there own it. Not outside investors, not founders who left years ago.
|
|
||||||
- Patronage returns - Surplus (profit) flows back to members based on their *labour contribution*, not their capital investment. Money follows work, not money.
|
|
||||||
|
|
||||||
### The practical difference
|
|
||||||
|
|
||||||
In a corporation, if you and two friends start a studio and one person puts in more money, they might own 60% and control major decisions. If you hire employees later, they're workers – not owners. If you sell the company, the original shareholders profit.
|
|
||||||
|
|
||||||
In a worker co-op, every worker-owner has equal (or near-equal) say regardless of when they joined or how much they invested. If someone leaves, they don't keep ownership. New members buy in and become full owners.
|
|
||||||
|
|
||||||
What aligns with your values and how you want to work together?
|
|
||||||
|
|
||||||
### You don't need to rush
|
|
||||||
|
|
||||||
Incorporation creates:
|
|
||||||
|
|
||||||
- Legal protections (limited liability)
|
|
||||||
- Access to certain funding and tax benefits (e.g., OIDMTC in Ontario)
|
|
||||||
- An entity that can hold contracts, own IP, and survive individual members leaving
|
|
||||||
|
|
||||||
Incorporation is not hard or expensive – which makes it tempting to treat as a milestone before the real work is done. But groups that rush to incorporate often find themselves still at step one two or three years later, because the relational and governance groundwork wasn't there yet.
|
|
||||||
|
|
||||||
A few things worth knowing early: the Cooperative Corporations Act already covers a lot of ground. You don't need to replicate what the Act handles in your articles of incorporation, and over-specifying your objects or share structure in an attempt to "maintain control" is usually counterproductive – flexibility serves the co-op better as it evolves. Bylaws matter, but they're not the most important thing. Economic viability is. Spending too much time wordsmithing your bylaws is a distraction from the harder work of building sustainability.
|
|
||||||
|
|
||||||
One more thing: Your legal advisors may not have co-op experience. Lawyers tend to default to conventional corporate structures, so seek out advisors who understand cooperative law, or at minimum, bring your own informed questions.
|
|
||||||
|
|
||||||
The patterns you establish now – how you make decisions, how you handle money, how you share power – will shape what kind of co-op you become.
|
|
||||||
|
|
||||||
***Today's focus: Governance practice, not legal paperwork.***
|
|
||||||
|
|
||||||
### Quick check
|
|
||||||
|
|
||||||
*By emoji reaction or in chat:*
|
|
||||||
|
|
||||||
- How many of you have worked at a studio where you had no say in major decisions?
|
|
||||||
- How many have had equity or ownership in a company before?
|
|
||||||
|
|
||||||
*no need to discuss - just noticing where we're starting from*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Why cooperative structures? - 10 min
|
|
||||||
|
|
||||||
The informal hierarchy check-in revealed patterns, right?
|
|
||||||
|
|
||||||
Those patterns aren't problems yet. But under pressure informal patterns become cracks.
|
|
||||||
|
|
||||||
Think: A funding deadline, a team member's life change, a game that's not working
|
|
||||||
|
|
||||||
OK, we'll say it again: *Studios don't fail because of creative differences. They fail because of governance, conflict resolution, and communication misalignment.* The game was good. The team couldn't hold together long enough to ship it.
|
|
||||||
|
|
||||||
You've already been practicing governance:
|
|
||||||
|
|
||||||
- have you deferred a preference (e.g., working odd hours) to fit with the group?
|
|
||||||
- have decisions been made in DMs?
|
|
||||||
- does one person hold knowledge others don't?
|
|
||||||
|
|
||||||
Will you choose your governance structure together or let it emerge by default?
|
|
||||||
|
|
||||||
You might think of governance as bureaucracy. But it's quite the opposite: It's making the invisible visible, the accidental intentional, the implicit explicit. It's building structures that enact your values so you have a clear path through the hard times.
|
|
||||||
|
|
||||||
Not everyone in your studio needs to be a co-op nerd for your co-op to work. What matters is that your governance documents *encode your values into systems*. If your bylaws require transparent finances, transparency happens whether or not every member has internalized why it matters. If your decision-making process requires consent, no one can override the group even on a bad day. The documents you write this week are how your values work *almost automatically* even when people are tired and stressed.
|
|
||||||
|
|
||||||
We want you to start making deliberate choices about how you'll work together, knowing you can revise as you learn.
|
|
||||||
|
|
||||||
---
|
|
||||||
## Case Study: Presenter's governance journey - 15 min
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Governance Models Overview - 15 min
|
|
||||||
|
|
||||||
### Small studios (3-6 people): Collective Governance
|
|
||||||
|
|
||||||
- All members make all major decisions together
|
|
||||||
- Rotate facilitation and administrative roles
|
|
||||||
- Use consent-based decision-making for most choices
|
|
||||||
- Monthly governance meetings for larger decisions
|
|
||||||
- Members are responsible for implementing their proposals
|
|
||||||
|
|
||||||
### Small studios alternative: Advice Process
|
|
||||||
|
|
||||||
You don't need their permission - just their input. Then you decide and own the outcome.
|
|
||||||
|
|
||||||
- Anyone can make any decision, but must first seek advice from those affected and those with expertise. (You don't *need* agreement.)
|
|
||||||
- Helps work move faster without disconnecting knowledge from the coop; cuts down on meetings
|
|
||||||
- Requires high levels of trust and transparency
|
|
||||||
|
|
||||||
Advice process fails if people skip the advice-seeking or if "advice" becomes de facto veto power.
|
|
||||||
|
|
||||||
*From Buurtzorg and the "Reinventing Organizations" model*
|
|
||||||
|
|
||||||
### Larger studios (7+): Circles (Sociocracy)
|
|
||||||
|
|
||||||
The Circles model is essentially **sociocracy** (also called dynamic governance). If you want to research further, that's the term to search. This model helps you organize work at the most "local" level possible, by those directly impacted by the decisions.
|
|
||||||
|
|
||||||
- Organize work into semi-autonomous circles (art, programming, bizdev)
|
|
||||||
- Each circle manages its own domain with clear boundaries
|
|
||||||
- Decisions within circles use ***consent*** process
|
|
||||||
- Circles link together through representatives who sit on multiple circles
|
|
||||||
- Larger decisions involving multiple circles invoke a representative Council
|
|
||||||
- Regular inter-circle coordination meetings
|
|
||||||
|
|
||||||
[Sociocracy 3.0 (S3)](https://sociocracy30.org/) is an open-source, modular version - teams adopt patterns à la carte rather than implementing a whole system. Good if you want "some structure but not a rigid framework."
|
|
||||||
|
|
||||||
You may have heard of [Holacracy](https://www.holacracy.org/). It is a more formalized, trademarked variant popularized by Zappos. More rigid and prescriptive, with detailed rules about roles and accountabilities. Overkill and overly corporate for you all.
|
|
||||||
|
|
||||||
### Larger studios alternative: Board + Membership
|
|
||||||
|
|
||||||
- All worker-owners are members
|
|
||||||
- Members elect a smaller board for ongoing governance
|
|
||||||
- Board accountable to membership through regular reporting
|
|
||||||
- Board sets conditions on membership and removal
|
|
||||||
- Board uses majority vote
|
|
||||||
- Clear division between governance (board) and operations (daily work)
|
|
||||||
|
|
||||||
This model is closer to traditional nonprofit or corporate governance but with worker ownership. Can feel more familiar to people coming from conventional workplaces.
|
|
||||||
|
|
||||||
But it's insufficient to just elect a board and call it democratic, if decisions have impact in a community that community needs to have a meaningful say in what those decisions are. It should go beyond "input" to actually having decision-making power.
|
|
||||||
|
|
||||||
### Large studios alternative: DisCos (Distributed Cooperative Organizations)
|
|
||||||
|
|
||||||
Developed by Guerrilla Media Collective. "Distributed" means distributed geographically (remote-first), distributed power (shared based on contribution), and distributed value (multiple types of work all count). Explicitly a cooperative, care-centred feminist economics alternative to DAOs.
|
|
||||||
|
|
||||||
Gamma Space uses an adapted version of this model!
|
|
||||||
|
|
||||||
- Value tracking across work types - distinguishes between *productive work* (the game),*care work* (team wellbeing), and *love work* (community, movement-building)
|
|
||||||
- Uses contributory accounting so invisible labour becomes visible and compensated
|
|
||||||
- Challenges assumptions about what counts as "real" work
|
|
||||||
- Federation over scaling - small nodes (max 15-20 people) federate together rather than growing one large organization
|
|
||||||
- Geared toward shared resources and open practices
|
|
||||||
|
|
||||||
DisCOs build structures to account for work that often goes undervalued and unrecognized.
|
|
||||||
|
|
||||||
Resources: [DisCO.coop](https://disco.coop) and the DisCO Manifesto
|
|
||||||
|
|
||||||
Hot tip: Begin with collective governance or advice process, even if you think it's not the perfect fit. You can add complexity as you learn what you actually need.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Decisions to clarify - 7 min
|
|
||||||
|
|
||||||
Whatever model you choose, clarify:
|
|
||||||
|
|
||||||
- Who can make spending decisions and up to what amount?
|
|
||||||
- What decisions require everyone vs. smaller groups?
|
|
||||||
- How do you change your governance structure as you grow?
|
|
||||||
- How do you document decisions and studio knowledge so it's not concentrated in one person?
|
|
||||||
|
|
||||||
#### How do you add or remove members?
|
|
||||||
|
|
||||||
This is often the hardest governance conversation. But you gotta have it before you need it.
|
|
||||||
|
|
||||||
*Pre-formation studios often assume the original founders are permanent. But your governance should apply to everyone equally.*
|
|
||||||
|
|
||||||
Adding members:
|
|
||||||
|
|
||||||
- what's the process? who decides?
|
|
||||||
- is there a trial period?
|
|
||||||
- how do you onboard someone into your governance culture, not just your workflows?
|
|
||||||
|
|
||||||
Voluntary departure:
|
|
||||||
|
|
||||||
- what happens to their ownership stake?
|
|
||||||
- what about work in progress they were leading?
|
|
||||||
|
|
||||||
Involuntary removal:
|
|
||||||
|
|
||||||
- what are grounds for removal?
|
|
||||||
- who initiates/decides/what protections exist for the person being removed
|
|
||||||
- without a clear process, removal either doesn't happen (and resentment builds) or happens and it's a big ol mess
|
|
||||||
|
|
||||||
#### Make accountability worth it
|
|
||||||
|
|
||||||
If owning up to harm in your studio means losing everything – your community, your friends, your credibility, your income, your creative home – nobody will do it. They'll do anything to avoid that. You could end up spending months in a slow-motion crisis with no path out of it.
|
|
||||||
|
|
||||||
When you're designing your conflict and removal policies, ask: Is it more worth it for someone to admit what they did than to lie about it? Is there a path back? Real consequences, real change required - but a path. If the only outcome of honesty is exile, you'll inevitably get dishonesty.
|
|
||||||
|
|
||||||
This doesn't mean tolerating ongoing harm. Your process should distinguish between someone who is genuinely working to change and someone who is performing accountability while continuing the behaviour. The former needs support and real consequences; the latter needs a different response.
|
|
||||||
|
|
||||||
#### The complexity of removing someone you care about
|
|
||||||
|
|
||||||
The person you're removing is probably someone you care about. They're your collaborator and maybe your friend. The instinct to paint them as an irredeemable villain or monster makes the decision easier, but it's dishonest and in itself harmful to everyone. People who cause harm in your studio are human beings in your community - and yes, they hurt others, and that needs to be addressed. Holding both the care and the harm is one of the hardest tasks in cooperative work. Make room for that complexity rather than forcing everyone into a binary of good/bad.
|
|
||||||
|
|
||||||
The person being removed may also be someone whose invisible labour has held things together. Community organizers, founders, people who did the unglamorous work of keeping things going when resources were scant - their contributions become very visible in their absence. A removal process that severs someone completely, without dialogue and without acknowledging what they built, both harms that person and damages the collective's relationship with its own history. Someone can take accountability for harm while the group still recognizes what they contributed. These ideas are both part of the truth and enable repair.
|
|
||||||
|
|
||||||
Exile – total severance from community, communication, and support networks – is one of the most punishing things a group can do to a person, and it should be treated with that weight. If your removal process looks like excommunication, ask whether that's proportionate, whether it's actually serving the safety of the group, or whether it's being driven by urgency, fear, or the desire to make a painful situation disappear quickly. A process that centres care means making those decisions with enough deliberation, transparency, and humanity that everyone involved - including the person being removed - can see that the process was trustworthy.
|
|
||||||
|
|
||||||
*you don't need to finalize these policies now. but you should know where your group is easily aligned vs. where you'll need more conversation.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Decisions under external pressure - 5 min
|
|
||||||
|
|
||||||
What happens when a publisher wants an answer in 48 hours? When a grant deadline lands during a conflict or crisis? When a platform opportunity requires a yes or no right now?
|
|
||||||
|
|
||||||
Think back to two weeks ago when we went over two scenarios and how you would make a decision as a studio. The focus was on returning to values. Governance can make sure you’re structuring that essential values work.
|
|
||||||
|
|
||||||
The urgency of external pressure can break down democratic processes. OR, you might discover you never planned for this situation!
|
|
||||||
|
|
||||||
Some things you could do:
|
|
||||||
|
|
||||||
- Delegation with parameters
|
|
||||||
- for opportunities under $x or commitments under y weeks, [person/role] can decide. anything bigger comes to the full coop.
|
|
||||||
- Emergency consent
|
|
||||||
- we'll make a decision with whoever's available, then confirm or revisit at our next full coop meeting
|
|
||||||
- Defined response
|
|
||||||
- we tell external parties we need [x days] to decide collectively. And if they can't wait, it's not the right fit
|
|
||||||
|
|
||||||
It comes back to V A L U E S! And having a plan in place you've all agreed to ahead of time.
|
|
||||||
|
|
||||||
*Think about past times when you've faced external deadlines. Who decided? Was everyone okay with that?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## From patterns to structure - 10 min
|
|
||||||
|
|
||||||
### Distributed capacity
|
|
||||||
|
|
||||||
In Session 4 you noticed patterns through the Informal Hierarchy Check-In. So what governance structures would address what you noticed?
|
|
||||||
|
|
||||||
Use these questions to connect your observations to design choices:
|
|
||||||
|
|
||||||
1. Whose defaults have become the group's defaults?
|
|
||||||
- Did everyone consent to that? What structure ensures future defaults are chosen collectively?
|
|
||||||
2. What knowledge is concentrated in one person?
|
|
||||||
- What happens if they leave or burn out? How does your governance distribute capacity?
|
|
||||||
- "Each historical moment of the organization should be carefully documented and archived... Investing in documentation also ensures that the power that comes from information is better distributed." -- [Solidarity Economy Principles](https://solidarityeconomyprinciples.org/)
|
|
||||||
3. Who can say no, and what happens when they do?
|
|
||||||
- Does your structure make dissent safe and productive?
|
|
||||||
4. What rhythms and speeds does the group assume?
|
|
||||||
- Who gets excluded by those assumptions? How do you build in flexibility?
|
|
||||||
5. How does accountability move?
|
|
||||||
- Only from members to collective? Or in all directions?
|
|
||||||
|
|
||||||
The patterns you noticed aren't problems to fix!
|
|
||||||
|
|
||||||
They're information for design. Your governance should make the invisible visible and the accidental… intentional!
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Tool: Community Rule - 10 min
|
|
||||||
|
|
||||||
[Community Rule](https://communityrule.info/) is a tool for documenting governance structures in plain language. We'll walk through the interface and show you an example from Gamma Space.
|
|
||||||
|
|
||||||
Start drafting with your Peer Support this week, taking note of what fields the tool asks for and where you already have answers vs. where you need to chat more.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 5 min
|
|
||||||
|
|
||||||
You've drafted a governance structure based on what you've learned about your decision-making patterns. But governance doesn't exist in a vacuum. It shapes (and is shaped by) how you handle money.
|
|
||||||
|
|
||||||
Next session, we'll dig into equitable economics: Transparent finances, compensation models, and profit-sharing. The governance you've designed will help you make those financial decisions together.
|
|
||||||
|
|
||||||
*Think about: What's one aspect of governance your team hasn't discussed yet?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Start your Community Rule draft** – During your PS session this week, use the tool to document what you've decided so far and where the gaps are. Bring questions to next session.
|
|
||||||
|
|
||||||
2. **Discuss financial sustainability with your studio** – What does financial sustainability look like for you personally? What would you need from this project? (Prep for Session 6.)
|
|
||||||
|
|
||||||
3. **Personal reflection** – What financial information have you never been allowed to see at work?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,253 +0,0 @@
|
||||||
# Session 6: Equitable Economics
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
Tag Yourself
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro – 5 min
|
|
||||||
|
|
||||||
Last session you designed governance structures. Now we test them on the hardest topic: Money.
|
|
||||||
|
|
||||||
In traditional studios, financial information is hoarded. If the boss says we can't afford raises, how do you know that's true if you don't have access to the books? If you've been the victim of the sudden shuttering of a studio, you probably didn't see it coming, because you never saw the real financial picture.
|
|
||||||
|
|
||||||
Secrecy entrenches power. In a cooperative, we have the opportunity to bust this wide open.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Check-in – 10 min
|
|
||||||
|
|
||||||
Last session's homework asked you to discuss: *What does financial sustainability look like for you personally? What would you need from this project?*
|
|
||||||
|
|
||||||
Anyone want to share what came up in that conversation?
|
|
||||||
|
|
||||||
*And think about what financial information have you never been allowed to see at work?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 1: Where money comes from – 15 min
|
|
||||||
|
|
||||||
We're going to talk about transparency and sharing in a bit. But we want to start with the good stuff!
|
|
||||||
|
|
||||||
Where does money actually come from for game studios and creative cooperatives?
|
|
||||||
|
|
||||||
Most sustainable studios don't rely on a single revenue stream.
|
|
||||||
|
|
||||||
### Member contributions
|
|
||||||
|
|
||||||
- Member shares – equity buy-in when you join
|
|
||||||
- Member loans – members lending to the co-op, sometimes with interest
|
|
||||||
- Sweat equity – labour contributed before there's money to pay wages
|
|
||||||
|
|
||||||
### Grants and public funding
|
|
||||||
|
|
||||||
- Arts councils – Ontario Arts Council, Canada Council
|
|
||||||
- Industry programs – Ontario Creates, Canada Media Fund, etc.
|
|
||||||
- Municipal and regional funds
|
|
||||||
- Project-specific grants
|
|
||||||
|
|
||||||
### Revenue from work
|
|
||||||
|
|
||||||
- Publisher advances and deals
|
|
||||||
- Platform funding – Epic MegaGrants, id@XBOX etc.
|
|
||||||
- Client work and contracts
|
|
||||||
- Direct sales
|
|
||||||
- Crowdfunding
|
|
||||||
- Service/contract work – porting, QA, art assets, sound design for other studios
|
|
||||||
- Adjacent creative work – animation, writing, interactive installations
|
|
||||||
- Knowledge work – workshops, speaking, consulting, teaching
|
|
||||||
|
|
||||||
### Investment and loans
|
|
||||||
|
|
||||||
- Impact investors (like Weird Ghosts and [others](https://gammaspace.slack.com/docs/T024FLYSV/F08HYF76NBV))
|
|
||||||
- Co-op development funds (CWCF's Tenacity Works, regional funds)
|
|
||||||
- Credit unions and community lenders
|
|
||||||
- Traditional bank loans (harder to access for co-ops)
|
|
||||||
|
|
||||||
*Adapted from Effective Practices in Starting Co-ops*
|
|
||||||
|
|
||||||
This needs to be a collective and intentional decision. Developing and maintaining these streams require time and effort that can eat into your actual game development.
|
|
||||||
|
|
||||||
*Coops have different capital options than traditional startups.* Venture capital doesn't work for us – VCs want big returns on their investment and eventually an "exit" (sale), which conflicts with worker ownership. On the other hand, we have access to funding streams that prioritize social impact over profit maximization.
|
|
||||||
|
|
||||||
Cooperation among cooperatives is one of the ICA cooperative principles we talked about a few weeks ago. When you do take on client or contract work, consider prioritizing work with other coops and solidarity economy organizations. This is a way we can build a "trade network" that helps everyone!
|
|
||||||
|
|
||||||
So think about: What funding sources has your studio used or considered? What feels aligned with your values?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 2: Financial transparency – 15 min
|
|
||||||
|
|
||||||
### Why transparency?
|
|
||||||
|
|
||||||
- Financial secrecy is a tool of control
|
|
||||||
- Open books = shared power
|
|
||||||
- When everyone understands the money, everyone can participate in real decisions
|
|
||||||
|
|
||||||
### Basic practices
|
|
||||||
|
|
||||||
- Share monthly financial summaries with all members
|
|
||||||
- Open-book policy (anyone can see the full accounts)
|
|
||||||
- Make all compensation transparent (everyone knows what everyone earns)
|
|
||||||
- Plan budgets collectively – this practice is sometimes called *participatory budgeting*, where members have real decision-making power over how money is allocated
|
|
||||||
|
|
||||||
### Tips for accessibility
|
|
||||||
|
|
||||||
- Use plain language – not everyone speaks accounting.
|
|
||||||
- Summarize number-dense spreadsheets ("we have 8 months of operating costs in the bank")
|
|
||||||
- Create space for questions. There are no embarrassing questions about money – most of us were never taught this stuff.
|
|
||||||
- Visual dashboards can help. Tools like [CoBudget](https://cobudget.com/) or [OpenCollective](https://opencollective.com/) make finances visible, or even just a shared spreadsheet
|
|
||||||
|
|
||||||
### Tell the messy truth
|
|
||||||
|
|
||||||
Transparency isn't just internal. When you're doing public-facing work like crowdfunding, devlogs, community updates, try to be honest about struggles, not just successes. When the story gets ahead of the reality, slow down and catch up.
|
|
||||||
|
|
||||||
### Common resistance
|
|
||||||
|
|
||||||
We have heard – what if competitors see our numbers?
|
|
||||||
|
|
||||||
But for real – what's actually at risk versus what's just discomfort? Most studios aren't competing on secret financial information. Is this fear really about vulnerability?
|
|
||||||
|
|
||||||
*Resource: [Seeds for Change – Finance](https://www.seedsforchange.org.uk/finance)*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 3: Compensation models – 20 min
|
|
||||||
|
|
||||||
SO! How do cooperatives pay people? There's no single right answer, but whatever you choose should be transparent and collectively decided.
|
|
||||||
|
|
||||||
*we have tools to help you try out these models at [coop.love](https://coop.love)*
|
|
||||||
|
|
||||||
### Models to consider
|
|
||||||
|
|
||||||
*Equal pay:* Everyone earns the same hourly or monthly rate regardless of role.
|
|
||||||
|
|
||||||
- Pros: Simple, values all contributions equally, prevents hierarchy creep
|
|
||||||
- Cons: Doesn't account for different needs or experience levels
|
|
||||||
|
|
||||||
*Needs-based:* Pay is adjusted based on members' actual financial needs (rent, dependents, debt, etc.)
|
|
||||||
|
|
||||||
- Pros: Addresses real inequity, mutual care in action
|
|
||||||
- Cons: Requires vulnerability and trust, can feel uncomfortable to discuss
|
|
||||||
|
|
||||||
*Role-based:* Different rates for different roles or skill levels.
|
|
||||||
|
|
||||||
- Pros: Familiar, can help attract specialized skills
|
|
||||||
- Cons: Can recreate the hierarchies you're trying to escape
|
|
||||||
|
|
||||||
*Hybrid approaches:* Base rate + adjustments, or equal base with different hours allocated
|
|
||||||
|
|
||||||
Whatever model you choose, *think about: What do we collectively believe is fair, and can we talk openly about it?*
|
|
||||||
|
|
||||||
### Activity – 10 min
|
|
||||||
|
|
||||||
In studio groups, discuss:
|
|
||||||
|
|
||||||
- What feels fair to you?
|
|
||||||
- What would you need to know about each other to decide on a compensation model?
|
|
||||||
- What conversations would be uncomfortable, and what does that reveal?
|
|
||||||
|
|
||||||
Share back with the group.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 4: Profit-sharing basics – 20 min
|
|
||||||
|
|
||||||
### What is profit-sharing in a coop?
|
|
||||||
|
|
||||||
When the cooperative has surplus (revenue beyond expenses), how does it get distributed? This is fundamentally different from how corporations work.
|
|
||||||
|
|
||||||
### Three types of money flowing to members
|
|
||||||
|
|
||||||
*Wages:* Payment for work performed. This is an expense, not profit-sharing.
|
|
||||||
|
|
||||||
*Patronage returns (or "dividends"):* Distribution of surplus based on members' contribution to the coop – usually measured by hours worked. This is what makes coops different: surplus flows to the people who created it, not to outside investors.
|
|
||||||
|
|
||||||
*Member shares:* Your equity stake in the coop. Usually a fixed amount you pay to join, returned when you leave.
|
|
||||||
|
|
||||||
### Common approaches to distributing surplus
|
|
||||||
|
|
||||||
- *Equal split:* Divide surplus equally among all members
|
|
||||||
- *Hours-based:* Distribute based on hours worked since last distribution
|
|
||||||
- *Hybrid:* Some percentage equal, some percentage hours-based
|
|
||||||
- *Contribution-based:* Weighted by type of contribution (common in coops where some members bring capital, others bring labour)
|
|
||||||
|
|
||||||
### When to distribute versus when to reserve
|
|
||||||
|
|
||||||
This is a *values* conversation!
|
|
||||||
|
|
||||||
- Build a reserve first. How many months of runway do you want before distributing anything? – there's no right answer.
|
|
||||||
- Distribute when you have genuine surplus, not just a good month
|
|
||||||
- Decide collectively if you want cash now or investment in the studio's future?
|
|
||||||
- Some coops allocate a percentage of surplus to a "collective account" for shared needs
|
|
||||||
|
|
||||||
### Incorporation context
|
|
||||||
|
|
||||||
Cooperative legislation is provincial in Canada, so the rules depend on where you incorporate.
|
|
||||||
|
|
||||||
*Ontario:* Worker coops can distribute patronage returns to members based on their labour contribution. There's flexibility in how you structure this – you decide the formula in your bylaws.
|
|
||||||
|
|
||||||
*Federal:* You can also incorporate under the Canada Cooperatives Act, which has its own rules.
|
|
||||||
|
|
||||||
However you structure it, patronage returns flow to workers based on their labour – not to outside shareholders based on their investment. This is the legal mechanism that grounds worker ownership.
|
|
||||||
|
|
||||||
### Discussion
|
|
||||||
|
|
||||||
Any questions about how this would work for your studio?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 5: Who owns what you make together? – 10 min
|
|
||||||
|
|
||||||
We've talked about how surplus flows to members. Buuuut, before you can share surplus you need to decide *who owns* what you're creating together!
|
|
||||||
|
|
||||||
In traditional studios, the company owns everything. Employees have no claim to their creative work. When the studio sells or shuts down, workers walk away with nothing.
|
|
||||||
|
|
||||||
Cooperatives can do this differently with explicit decisions!
|
|
||||||
|
|
||||||
### Questions to discuss as a studio
|
|
||||||
|
|
||||||
1. Who owns the game?
|
|
||||||
– the cooperative as an entity? individual members jointly? a mix?
|
|
||||||
– if the coop owns it, what happens to that ownership if someone leaves?
|
|
||||||
2. What about work created before the coop formed?
|
|
||||||
– if someone brings existing assets, code, or designs into the project, do they retain individual ownership or contribute it to the collective?
|
|
||||||
– how do you value those contributions?
|
|
||||||
3. What happens if someone leaves mid-project?
|
|
||||||
– do they retain any ownership stake in work they contributed to?
|
|
||||||
– can they take "their" assets (character designs, code they wrote) with them?
|
|
||||||
– what's the difference between leaving voluntarily vs. being asked to leave?
|
|
||||||
4. What happens if the studio dissolves?
|
|
||||||
– who controls the ip? can one member buy out others?
|
|
||||||
– what if you can't agree?
|
|
||||||
|
|
||||||
*Not deciding* means you're going to default to whatever legal structure you eventually incorporate under. Worst case scenario is realizing too late that everyone's expectations were mismatched.
|
|
||||||
|
|
||||||
### A note on sweat equity
|
|
||||||
|
|
||||||
If you haven't started selling your game yet and members are contributing labour without pay, how does that translate to ownership?
|
|
||||||
|
|
||||||
"Sweat equity" is complicated. Some coops track hours and convert them to ownership stakes. Others treat all founding members as equal regardless of hours contributed. However you do it, everyone needs to understand and agree to the approach.
|
|
||||||
|
|
||||||
*Use your Peer Support session to start this conversation. You don't need answers yet – just notice where you're in agreement and where you're uncertain.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing – 5 min
|
|
||||||
|
|
||||||
Financial conversations can be really difficult. They reveal vulnerabilities, and tensions about values, fairness, and trust. There's so much space for conflict to show up here.
|
|
||||||
|
|
||||||
In the next session, we'll build tools for navigating disagreement constructively.
|
|
||||||
|
|
||||||
Think about: *Is there a financial conversation your team has been avoiding?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework (with Peer Supports)
|
|
||||||
|
|
||||||
1. **Discuss financial transparency** – What financial information would feel vulnerable to share? What would you need to feel safe sharing it? What have you never been allowed to see at a workplace – and what would have been different if you had?
|
|
||||||
|
|
||||||
2. **Discuss compensation models** – What feels fair to you? Where do you notice tension between "fair" and "comfortable"? What do you need to know about each other's situations to decide together?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,365 +0,0 @@
|
||||||
# Session 7: Conflict Resolution and Collective Care
|
|
||||||
|
|
||||||
*Peer Supports: See **PS Guide: Session 7** for pre-session tasks.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro – 5 min
|
|
||||||
|
|
||||||
Last session we tackled the hardest topic: money. Financial conversations are often where conflict first shows up in a studio. If your compensation discussion went smoothly, great. If it got tense, you now have more information about your teammates!
|
|
||||||
|
|
||||||
We've been taught that conflict means something is wrong. But in healthy cooperatives, disagreement is *valuable data* – it tells us there's an opportunity to create something better for everyone.
|
|
||||||
|
|
||||||
Something to hold as we go through today: Many of us show up to cooperative spaces already scanning for signs we don't belong. We arrive hopeful, and then feel let down when something isn't perfect. This is a pattern shaped by a lifetime of not feeling belonging. Knowing this, we can design our studios and our conversations with more care.
|
|
||||||
|
|
||||||
> Cooperatives don't eliminate conflict: they harness it. Conflict signals where values misalign or needs aren't being met. – Samantha Slade, *Going Horizontal*
|
|
||||||
|
|
||||||
**Addressing conflict head-on is an act of care.** Avoidance lets harm fester.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Check-in – 5 min
|
|
||||||
|
|
||||||
What came up in your compensation models discussion from last session? Where did you notice friction? Or surprised by alignment?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 1: Reframing conflict – 15 min
|
|
||||||
|
|
||||||
### Conflict as care
|
|
||||||
|
|
||||||
- Disagreement is DATA, not failure
|
|
||||||
- Addressing issues directly is caring – avoidance lets harm fester
|
|
||||||
- Healthy teams have conflict; unhealthy teams suppress it
|
|
||||||
|
|
||||||
People who avoid conflict aren't being cooperative. They are invisibilizing their pain. And people who escalate every disagreement into combat are treating conflict as threat rather than neutral signal.
|
|
||||||
|
|
||||||
In community listening projects across Western North Carolina, Cooperate WNC found that the biggest impediment to the success of collective projects was conflict – even more than money. *Even more than money.*
|
|
||||||
|
|
||||||
Unresolved conflict drives people out entirely. Most people who leave cooperative or movement work do so because they are in pain because of conflict that was never addressed. They joined work they cared about, something went wrong, and the resulting loss of trust is what actually burns them out.
|
|
||||||
|
|
||||||
### Conflict transformation
|
|
||||||
|
|
||||||
One way to think about addressing conflict is as an opportunity for transformation, not just resolution.
|
|
||||||
|
|
||||||
Traditional corporations just want conflict to go away so they can get workers back to their desks at maximum productivity. Conflict is a bottleneck to profits.
|
|
||||||
|
|
||||||
But if we actually looked at the underlying sources of conflict, we'd have to acknowledge the systems that created it.
|
|
||||||
|
|
||||||
> "A given **conflict is just a fruit on the tree of the underlying whole system** it came out of. Those root causes usually have to do with trauma, power structures, and the ways capitalism shapes our relationships. We don't want to just resolve conflicts and brush them under the rug. We want to see each one as a doorway into the underlying causes, so we can**transform them and create deeper trust** through the process." – Zev Friedman, Cooperate Western NC
|
|
||||||
|
|
||||||
### Structural vs. interpersonal
|
|
||||||
|
|
||||||
**Structural conflict:** Recurs no matter who's involved (keeps happening with different people); caused by governance gaps, power imbalances, unclear roles, resource scarcity.
|
|
||||||
|
|
||||||
**Interpersonal conflict:** Communication can resolve it; misunderstandings, style differences, unmet expectations
|
|
||||||
|
|
||||||
Many conflicts are both. The structural issue creates the conditions for interpersonal friction
|
|
||||||
|
|
||||||
Fix the structure first – otherwise you're just managing symptoms.
|
|
||||||
|
|
||||||
It's also useful to ask…
|
|
||||||
|
|
||||||
- Is there a collective impact, or is it personal preference?
|
|
||||||
– Helps determine urgency
|
|
||||||
- Is the concern evidence-based or speculative?
|
|
||||||
– Shapes how you will respond
|
|
||||||
|
|
||||||
Communication tools don't fix governance problems. If the structure is broken, no amount of "I statements" will help!
|
|
||||||
|
|
||||||
#### Watch for the emotional-political conflation trap
|
|
||||||
|
|
||||||
Before diagnosing a conflict as structural or interpersonal, check whether political language is standing in for emotional experience. We might be very good at naming the political or identity-based dimensions of a disagreement but much less practiced at naming the emotional dynamics underneath. When we're afraid or defensive, reaching for political framing can feel like solid ground – but it can also make repair harder.
|
|
||||||
|
|
||||||
In your studio, someone might feel unheard in a creative decision and frame it as a power or equity issue. *Both might be true!* But if you skip the emotional reality and go straight to political framing, you make resolution harder. Try to name both.
|
|
||||||
|
|
||||||
### Some truths of conflict
|
|
||||||
|
|
||||||
1. Just talking about conflict can create conflict.
|
|
||||||
2. Working through conflict takes time. Sometimes *lots* of time.
|
|
||||||
3. Conflict *will* happen. We promise. Even if you're best friends.
|
|
||||||
|
|
||||||
### Multi-directional accountability
|
|
||||||
|
|
||||||
In cooperatives, accountability runs in multiple directions. Members are accountable to each other and to the collective – but the collective is also accountable to each member. This is different from traditional workplaces where accountability only flows upward to bosses.
|
|
||||||
|
|
||||||
"Holding someone accountable" sounds like something that happens *to* a person who messed up. We all come together and make them answer for what they did. But you can't actually hold someone accountable. Accountability is a process someone *engages in by choice*.
|
|
||||||
|
|
||||||
What you *can* do is create the conditions where accountability is possible. Can someone in your studio admit they messed up without it being a catastrophe? Is there enough trust that people will be honest about impact without it turning into a dehumanizing pile-on? Do people feel seen enough as real, full humans that they can hear hard feedback without shutting down or peacing out?
|
|
||||||
|
|
||||||
One thing we've learned from community work is that accountability requires specificity. You can't take responsibility for unspecified offences – it's impossible to address "you caused harm" when no one will tell you what you did. Vague accusations invite shame, defensiveness, capitulation – and none of those are repair. If your studio's process asks someone to account for their behaviour, it needs to name – clearly and specifically – the behaviour being addressed.
|
|
||||||
|
|
||||||
The other thing is that your processes only work if people actually use them. Organizations can have beautiful conflict resolution policies on paper and then bypass them entirely when things get real. When that happens, the processes weren't truly aligned with the group's actual values. If you build accountability structures, commit to using them even (especially) when it's uncomfortable or inconvenient. An organization that abandons its own processes in a crisis is telling its members that those processes were never real.
|
|
||||||
|
|
||||||
When we approach conflict as a structural/movement condition rather than an individual failing, the question shifts from _who is the problem?_ to _what is our structure doing that's making this harder?_ What would need to change so people could actually be honest about the harm they've caused?
|
|
||||||
|
|
||||||
[*Solidarity Economy Principles*](https://solidarityeconomyprinciples.org/theme-collective-care-relationships-and-accountability/)
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 2: Common Conflicts in Game Studios – 15 min
|
|
||||||
|
|
||||||
**1. Workload and contribution**
|
|
||||||
|
|
||||||
- resentment over inequitable workloads
|
|
||||||
- "they're not pulling their weight" (but have you actually talked about capacity?)
|
|
||||||
- different definitions of "done" or "good enough"
|
|
||||||
|
|
||||||
**2. Creative direction**
|
|
||||||
|
|
||||||
- disagreement over game vision or scope
|
|
||||||
- one person's idea keeps "winning"
|
|
||||||
- feeling unheard in creative decisions
|
|
||||||
|
|
||||||
**3. Money and compensation**
|
|
||||||
|
|
||||||
- discomfort with pay transparency (or lack of it)
|
|
||||||
- disagreement over how to split revenue or profit
|
|
||||||
- different financial needs creating different risk tolerances
|
|
||||||
|
|
||||||
**4. Roles and power**
|
|
||||||
|
|
||||||
- original founder holds informal power
|
|
||||||
- unclear decision-making authority
|
|
||||||
- someone taking on a "manager" role without agreement
|
|
||||||
|
|
||||||
**5. Communication and presence**
|
|
||||||
|
|
||||||
- different expectations for availability/response time
|
|
||||||
- remote work misunderstandings
|
|
||||||
- someone going quiet instead of raising concerns
|
|
||||||
|
|
||||||
### Noticing informal power (without it being "conflict")
|
|
||||||
|
|
||||||
Think back on the Informal Hierarchy Check-In from Session 4… those same questions apply here:
|
|
||||||
|
|
||||||
- whose idea did we go with by default?
|
|
||||||
- who gets deferred to?
|
|
||||||
- whose schedule shapes our meeting times?
|
|
||||||
|
|
||||||
*Noticing is not accusing.* Pointing out "hey, we've defaulted to jennie's preferences three times now" isn't conflict. The goal is *noticing before patterns calcify*.
|
|
||||||
|
|
||||||
You can name power accumulation without it being a fight. If you can't – your coop might not have enough capacity for handling conflict.
|
|
||||||
|
|
||||||
### Discussion
|
|
||||||
|
|
||||||
*do any of these feel familiar? are they structural, interpersonal, or both?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 3: Tools for Conflict – 15 min
|
|
||||||
|
|
||||||
"We live in a society based on **disposability**. When we feel bad, we often automatically decide that either we are bad or another person is bad. Both of these moves cause damage and distort the truth, which is that we are all navigating difficult conditions the best we can, and we all have a lot to learn and unlearn. If we want to build a different way of being together in groups,**we have to look closely at the feelings and behaviours that generate the desire to throw people away**. Humility, compassion for ourselves, and compassion for others are antidotes to disposability culture. Examining where we project on others and where we react strongly to others can give us more options when we are in conflict. Every one of us is more complex and beautiful than our worst actions and harshest judgements. Building compassion and accountability requires us to take stock of our own actions and reactions in conflict, and seek ways to treat each other with care even in the midst of strong feelings." – Dean Spade, ["Practicing New Social Relations, Even in Conflict"](https://francesslee.medium.com/practicing-new-social-relations-even-in-conflict-dean-spade-54d4a60fcfed)
|
|
||||||
|
|
||||||
### Loving Justice framework
|
|
||||||
|
|
||||||
Before speaking, ask: Is it Brave? Kind? Honest? Humble?
|
|
||||||
|
|
||||||
### Feedback is a gift
|
|
||||||
|
|
||||||
This sounds like a platitude, but it's a real perspective shift. When someone gives you feedback, they're telling you *how to take better care of them* and how to make your system more functional. They're giving you information you didn't have.
|
|
||||||
|
|
||||||
> "The shift is from perceiving feedback as threat to perceiving feedback as power. It's hard – especially if your pattern is defensiveness. But people who stay in cooperative work long enough often describe a moment when this actually flipped for them." – Zev Friedman, Cooperate Western NC
|
|
||||||
|
|
||||||
### Behaviourally-specific feedback
|
|
||||||
|
|
||||||
Sometimes feedback comes in very ugly wrapping – that doesn't mean there's not a gift inside.
|
|
||||||
|
|
||||||
[TODO-IMAGE-03: Intent/Behaviour/Impact illustration from Connect (Bradford & Robin) – recreate or source]
|
|
||||||
|
|
||||||
When two people interact, there are three realities:
|
|
||||||
|
|
||||||
1. Intent (Person 1's reality): Their needs, motives, emotions, intentions
|
|
||||||
2. Behaviour (Common reality): Tone, words, gestures, facial expressions – what actually happened
|
|
||||||
3. Impact (Person 2's reality): Your reactions and emotions
|
|
||||||
|
|
||||||
Each person can only know 2 of these realities. You know the behaviour you observed and the impact on you.
|
|
||||||
|
|
||||||
What we think about others’ intentions is only a hunch. And in any case, the problem is usually with a person’s behaviour, not their intentions.
|
|
||||||
|
|
||||||
Stay on your side of the net. Moving beyond the 2 realities you understand makes the interaction accusatory.
|
|
||||||
|
|
||||||
"you did x **because you don't respect me**" crosses the net. "when x happened,**i felt disrespecte**d" stays on your side.
|
|
||||||
|
|
||||||
#### What counts as behaviour?
|
|
||||||
|
|
||||||
Behaviour is something you can point to – words, gestures, even silence. A useful test: *If people were shown a video of the interaction, would they agree they saw the same behaviours?*
|
|
||||||
|
|
||||||
Be specific. "You dominated the discussion" is a judgment based on a series of behaviours. "You spoke for 10 of the 15 minutes" is observable. The more specific you are, the harder it is for the other person to deny.
|
|
||||||
|
|
||||||
### Why this works
|
|
||||||
|
|
||||||
1. It is indisputable
|
|
||||||
2. It leads to the other party explaining their intentions
|
|
||||||
3. Focusing on behaviour avoids the problem of too much non-specific feedback being useless or destructive
|
|
||||||
4. All behaviourally specific feedback is **positive**
|
|
||||||
1. behaviour is something we can change
|
|
||||||
2. affirmative = “positive” and developmental = “negative”
|
|
||||||
5. All behaviourally-specific feedback is **data**, and more data is better than less.
|
|
||||||
1. Feedback given with the intention of being helpful is always positive
|
|
||||||
|
|
||||||
*Adapted from Connect: Building Exceptional Relationships with Family, Friends, and Colleagues by David Bradford Ph.D. and Carole Robin Ph.D.*
|
|
||||||
|
|
||||||
### Stay with your truth
|
|
||||||
|
|
||||||
What's the part of you that's saying "no"? That's pushing back? Can you speak from that place?
|
|
||||||
|
|
||||||
"A part of me doesn't want to be here because..." "I'm afraid to have this conversation because..."
|
|
||||||
|
|
||||||
Conflict is telling us if there is a problem or a need not being met. Hold onto that while holding onto someone else's truth.
|
|
||||||
|
|
||||||
### Before you raise an issue
|
|
||||||
|
|
||||||
Two things to watch for: shame responses (collapsing into "I'm a terrible person" instead of attending to the other person's experience – name it when you see it), and clarity about what you actually observed vs. interpreted. Before starting a conversation, get clear on: what specific behaviour did I observe? What "no"s are coming up for me? What's my part in this? What do I actually need?
|
|
||||||
|
|
||||||
*For deeper reading on shame, accountability, and conflict: [Building Accountable Communities](https://bcrw.barnard.edu/building-accountable-communities/) – Dean Spade, Mariame Kaba, and BCRW.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Part 4: Window of Transformation – 10 min
|
|
||||||
|
|
||||||
Timing matters:
|
|
||||||
|
|
||||||
Is this person able to hear feedback right now? Are *you* able to give it?
|
|
||||||
|
|
||||||
The "Window of Transformation" is an embodied conflict response model developed by Kai Cheng Thom, inspired by Dan Siegel and Pat Ogden's "Window of Tolerance." It maps different emotional states and responses to conflict based on nervous system activation.
|
|
||||||
|
|
||||||
[TODO-03: Insert Window of Transformation graphic here after import]
|
|
||||||
|
|
||||||
### The zones
|
|
||||||
|
|
||||||
**Destructive (High Activation)**
|
|
||||||
|
|
||||||
- Fight/flight responses, overwhelmed, panicked, enraged
|
|
||||||
- Attacking the other person or attacking the relationship
|
|
||||||
- "It's me or them, and I choose me"
|
|
||||||
|
|
||||||
**Window of Transformation (Optimal)**
|
|
||||||
|
|
||||||
- Hearing and integrating feedback with curiosity and compassion
|
|
||||||
- Stretched, challenged, expanding the edge of emotional capacity
|
|
||||||
- Able to hold boundaries while staying connected
|
|
||||||
- "I can honour your truth and honour mine"
|
|
||||||
|
|
||||||
**Performative (Low Activation)**
|
|
||||||
|
|
||||||
- Prioritizing maintaining relationship over integrity
|
|
||||||
- Overwhelmed, insecure, deceiving self or other to "appease"
|
|
||||||
- "Giving in to get along"
|
|
||||||
|
|
||||||
**Fragile/Collapse (Very Low Activation)**
|
|
||||||
|
|
||||||
- Collapsing into shame and blame, feeling victimized
|
|
||||||
- Stuck or immobilized, "freeze"
|
|
||||||
- Unable to engage at all
|
|
||||||
|
|
||||||
### Using this framework
|
|
||||||
|
|
||||||
You're not going to be able to stay in the Window of Transformation permanently! Your goal is to *notice* when you've left it and make choices accordingly.
|
|
||||||
|
|
||||||
if you're in the Destructive zone: this is not the time to have the conversation – step away. Take a break.
|
|
||||||
|
|
||||||
if you're in the performative zone: you might agree to things you don't actually consent to
|
|
||||||
|
|
||||||
if you're in fragile/collapse: you need support, not a conflict conversation.
|
|
||||||
|
|
||||||
Practice noticing where others are. If someone is clearly activated or shut down – leave some space.
|
|
||||||
|
|
||||||
> "One thing that is surprising and challenging about the emotional dynamics of conflict is that we do the most harm to others when we are feeling aggrieved, victimized, left out, and/or resentful. It’s counterintuitive because those are the moments when we are focused on what others did wrong and how we are hurting. But those are the times we are most likely to do something harmful, like go and write the really messed up email to somebody, treat somebody with a cold shoulder, gossip negatively about people in our group or about another group in town, post a bunch of stuff on Instagram that’s really inflammatory, or violate someone’s privacy." – Dean Spade, "Navigating Conflict in Movement Spaces" (Nonprofit Quarterly)
|
|
||||||
|
|
||||||
The moments you ***feel most justified*** are the moments you're most likely to cause harm. If you're feeling like the wronged party, that's exactly when to pause and ask a trusted person whether your planned response is the right scale.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Activity – 10 min
|
|
||||||
|
|
||||||
Here are some example scenarios:
|
|
||||||
|
|
||||||
- So-and-so keeps talking over me in meetings
|
|
||||||
- One person keeps having to answer emails and is left out of game dev chats
|
|
||||||
- Another *small* conflict. (Although conflict has a way of bubbling up and becoming giant).
|
|
||||||
|
|
||||||
### Discussion
|
|
||||||
|
|
||||||
- is this structural, interpersonal, or both?
|
|
||||||
- using behaviourally-specific feedback: what would you actually say? (stay on your side of the net – what you observed, what impact it had)
|
|
||||||
- apply the Loving Justice questions (Brave? Kind? Honest? Humble?)
|
|
||||||
- what would make this issue easier to raise?
|
|
||||||
- notice what zone you're in
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Escalation as Care – 10 min
|
|
||||||
|
|
||||||
Escalation is NOT failure! it's recognizing that some conflicts *need more support* than a 1:1 can provide.
|
|
||||||
|
|
||||||
### Levels of escalation
|
|
||||||
|
|
||||||
#### Direct conversation
|
|
||||||
|
|
||||||
Talk to the person yourself. Use the tools we just practiced – behaviourally specific feedback, staying on your side of the net, checking what zone you're in before you start.
|
|
||||||
|
|
||||||
#### Escalate bandwidth
|
|
||||||
|
|
||||||
Escalate the bandwidth of the channel – if you’re on Slack asynchronous text, move to Slack synchronous text at a planned time. From synchronous chat to an audio Huddle, audio to video. *Credit: [Joshua Vial](https://joshuavial.com/loomio-conflict/)*
|
|
||||||
|
|
||||||
#### Bring in a third party
|
|
||||||
|
|
||||||
a trusted person who can facilitate – not to judge or decide, but to help both people hear each other. This could be another studio member, a Peer Support, or someone outside the studio you both trust.
|
|
||||||
|
|
||||||
#### Formal process
|
|
||||||
|
|
||||||
Use your documented conflict resolution policy. This is for when informal approaches haven't worked, when the conflict affects the whole studio, or when someone needs formal protections.
|
|
||||||
|
|
||||||
Often formal conflicts trace back to unintegrated objections: concerns that were raised but never properly addressed. Preventing this requires actually working through tensions when they come up.
|
|
||||||
|
|
||||||
*The goal isn't to always end up at the formal process. You just want to have it so everyone knows it exists. This can make informal resolution easier.*
|
|
||||||
|
|
||||||
We'll share Baby Ghosts' conflict resolution policies and procedures as a template you can adapt. It includes: who initiates the process, what documentation happens, timelines, and what happens if resolution isn't reached.
|
|
||||||
|
|
||||||
- Resource: [Baby Ghosts Conflict Resolution Procedures](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Procedures/Conflict+Resolution+Procedures)
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
### Trust comes from repair, not avoidance
|
|
||||||
|
|
||||||
The Gottman Institute found that couples don't build trust by avoiding conflict. They build trust by having conflict and then repairing. The repair is what demonstrates: You matter to me enough that you're worth repairing with. I'm going to do the work.
|
|
||||||
|
|
||||||
The same is true in cooperative work. Being willing to risk rupture, and then showing up for repair – that's what creates the trust. "Oh, you really did have my back when it mattered. You really were willing to receive feedback."
|
|
||||||
|
|
||||||
>"People who stay put in conflict rather than run away are signalling they're ready for deeper work." – *Zev Friedman, Cooperate Western NC on John M. Gottman Ph.D., The Science of Trust*
|
|
||||||
|
|
||||||
### Hot tips
|
|
||||||
|
|
||||||
- Have a policy and procedures in place *before* your next crisis
|
|
||||||
- You can use Baby Ghosts' template as a starting point, but collectively review and modify it to your specific values, needs, and context
|
|
||||||
- Every member should be intimately familiar with these documents
|
|
||||||
- Know who is responsible for supporting members in conflict
|
|
||||||
- operationalize your values around conflict resolution by including it in your budget, reserving time in retreats and meetings, and signing up for relevant training.
|
|
||||||
- Practice on the small stuff. Don’t wait for a crisis. Every small repair is a rehearsal for the harder conversations. If you can’t talk about someone consistently showing up late to meetings, you definitely can’t talk about power dynamics or compensation disputes. Start where it’s low-stakes.
|
|
||||||
|
|
||||||
Soul Fire Farm, an agricultural coop in New York, uses a peer-to-peer "Real Talk" process to give direct feedback. We'll share the link: [Soul Fire Farm Real Talk](https://agriculturaljusticeproject.org/toolkit/resources/relations/soulfire-real-talk/). This is a great framework if you want to build in regular feedback on a regular basis.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing – 5 min
|
|
||||||
|
|
||||||
*"Deescalate all conflict that isn't with the enemy." -- Margaret Killjoy*
|
|
||||||
|
|
||||||
You've now built tools for governance, decision-making, financial transparency, and conflict. That's a lot. And next session is our last! CRY
|
|
||||||
|
|
||||||
Some of these conversations may have been uncomfortable. You might be still thinking about things that came up this week.
|
|
||||||
|
|
||||||
we'll step back and assess what you've created together. what's working/fragile/what comes next after this program ends?
|
|
||||||
|
|
||||||
*between now and then: If hard conversations came up this week, don't let them drift away. Use your Peer Support session to keep working through them.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Name one avoided tension** – What conflict or tension has your studio been avoiding? It doesn't have to be big – small avoidances are good to examine too. What makes it tough to bring up? Can you practice raising it?
|
|
||||||
|
|
||||||
2. **Review the conflict resolution template together** – Read [Baby Ghosts' conflict resolution policy](https://publish.obsidian.md/baby-ghosts-corp-docs/Public/Policies/Conflict+Resolution+Policy). As a studio, discuss: what would you adapt for your context, and what's missing for you?
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
@ -1,140 +0,0 @@
|
||||||
# Session 8: Self-Evaluation and Pathways
|
|
||||||
|
|
||||||
## Welcome
|
|
||||||
|
|
||||||
- Slide: Tag Yourself
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Intro - 5 min
|
|
||||||
|
|
||||||
This is the last session. Wahoo! Where did the time go?!
|
|
||||||
|
|
||||||
Last week we talked about conflict. Some of you may have had difficult conversations since then. That's the good stuff, as eileen would say. It's okay if things feel unfinished or messy. You don't have to have it all figured out by now. We hope you feel you have the tools and the trust to keep figuring it out together.
|
|
||||||
|
|
||||||
What happens next is going to be harder than the program. You'll ship a game, or you won't. Money will come in, or it won't. Life will get busy. And the governance practices you've built over these weeks can quietly erode if you stop doing them.
|
|
||||||
|
|
||||||
You might skip a governance meeting because you're crunching… then another. Someone starts "just handling" the finances because it's easier than showing someone else how to do it. Six months later someone asks "why are we even a co-op?" and no one has a good answer. This is the most common way cooperatives fail.
|
|
||||||
|
|
||||||
The post-program supports we're about to talk about exist to keep up your momentum and help you build your collaborative muscles - and remember the “why.”
|
|
||||||
|
|
||||||
And today we pause to reflect on what you've built and where you're headed. We have two assessments - individual and studio - to help you see how far you've come and clarify your next steps.
|
|
||||||
|
|
||||||
And then we'll celebrate as a group!
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Check-in - 5 min
|
|
||||||
|
|
||||||
*What has shifted for you since Session 0?*
|
|
||||||
*Has your emotional connection to the studio changed over the program?*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Self-assessment overview - 5 min
|
|
||||||
|
|
||||||
It's easy to get into a groove and forget to check in with yourself. But clarity of self-reflection makes you a better collaborator. Most of the work is making the time and space to sit with your thoughts before writing them down. That's what prevents decisions made in haste or fear and builds intentional practice instead.
|
|
||||||
|
|
||||||
We have two assessments for you today. The first is personal and private – just for you. The second is collective – you'll complete it as a studio, and Baby Ghosts will review it to understand where you're at and how to support you going forward. This is also important feedback for us, so please be honest about what worked and what didn't.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Personal self-assessment - 10 min
|
|
||||||
|
|
||||||
**This is private.** Baby Ghosts won't see it. Your studio won't see it unless you choose to share.
|
|
||||||
|
|
||||||
This helps you get a clearer sense of your personal and professional baseline. Be on the same page with yourself before you meet with your team. Where have you grown? Where do you still feel uncertain? What do you need from your collaborators that you haven't asked for yet?
|
|
||||||
|
|
||||||
[TODO-06: Link to assessment form when ready. Tracked in Asana.]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Studio self-assessment - 10 min
|
|
||||||
|
|
||||||
**This is collective.** You'll complete it together as a studio, and Baby Ghosts will review it to understand where you're at and how to support you.
|
|
||||||
|
|
||||||
The template is on your studio Miro board. You'll rate where your studio is on each of seven areas using this scale:
|
|
||||||
|
|
||||||
1. **Considering/Reflecting** – You've thought about it individually but haven't discussed it as a team yet.
|
|
||||||
2. **Discussing Collectively** – You're talking about it together but haven't made decisions.
|
|
||||||
3. **Brainstorming** – You're actively generating ideas and exploring options.
|
|
||||||
4. **Sifting/Sorting** – You're narrowing down, making choices, working toward alignment.
|
|
||||||
5. **First Draft of Documentation** – You have something written down – a policy, a process, a shared agreement.
|
|
||||||
|
|
||||||
The seven areas map to the arc of this program:
|
|
||||||
|
|
||||||
1. Values, purpose & alignment
|
|
||||||
2. Governance
|
|
||||||
3. Decision-making & meetings
|
|
||||||
4. Equitable economics
|
|
||||||
5. Conflict & repair
|
|
||||||
6. Program reflection
|
|
||||||
7. What's next
|
|
||||||
|
|
||||||
Be honest with each other. A "2" in conflict resolution after eight weeks means you know where to focus. This assessment also helps you understand if your studio is ready to continue together, to pause, or to part ways. All of these are valid outcomes.
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## What's next - 15 min
|
|
||||||
|
|
||||||
Two questions to start: *What do you want to focus on as a studio going forward? What's your plan for revisiting your governance and values after the program ends – and who's responsible for scheduling it?*
|
|
||||||
|
|
||||||
### Stay connected: Ghost Guild
|
|
||||||
|
|
||||||
When the program wraps up, your weekly Peer Support sessions end – but your Peer Support isn't going anywhere. They're still part of the community, and many are happy to hear from you as you hit milestones or run into challenges.
|
|
||||||
|
|
||||||
Going forward, your home base for support is the Ghost Guild – Baby Ghosts' alumni community. Program alumni are automatically enrolled. Membership includes free access to talks and workshops, community building with solo devs, early access to resources, and opportunities to become a Peer Support or contribute to the knowledge commons.
|
|
||||||
|
|
||||||
### Keep practicing
|
|
||||||
|
|
||||||
Build in a revisit of your values and governance documents. Quarterly is ideal, twice a year at minimum. Put it on the calendar before you leave today. Ask: are we still practicing what we said we would? Where have we drifted? What needs updating? The studios that stay cooperatives are the ones that keep asking these questions.
|
|
||||||
|
|
||||||
Build in a self-accountability practice too. Values drift can happen quietly. To prevent it, make a regular habit of asking yourself: Did my choices today align with who I want to be? This can be as simple as a five-minute reflection at the end of the week, or a quick message to a collaborator: "Hey, I was short with you yesterday. That wasn't who I want to be. Sorry." You've been building this muscle all program. Stay strong! – put it alongside your governance review on the calendar.
|
|
||||||
|
|
||||||
### Upcoming workshops
|
|
||||||
|
|
||||||
We offer standalone workshops throughout the year on topics we've introduced here – and some we haven't had time to cover in the program. These are included with Ghost Guild membership or available for public registration. Past and upcoming workshops include: Legal Structures & By-Laws, Business Planning, Grantwriting & Alt Funding, Social Impact, Advanced Governance, Miro / Tools Workshop, Why We're Here: Telling Your Studio's Story, and Process Development.
|
|
||||||
|
|
||||||
### Interested in becoming a Peer Support?
|
|
||||||
|
|
||||||
Some of you may be interested in supporting future cohorts as a Peer Support. This is a paid role and a meaningful way to build capacity in the community – you already know firsthand what studios go through, and that experience is exactly what makes a great PS.
|
|
||||||
|
|
||||||
Here's what the role involves: you'd attend all program sessions alongside your assigned studios, facilitate weekly peer support meetings with one studio, and participate in PS training before the cohort starts. It's approximately 4-6 hours per week during the 10-week program. If you're someone who found yourself energized by the collaborative work, who notices group dynamics, and who cares about holding space for others – this might be a great fit. Talk to us after the session or reach out anytime.
|
|
||||||
|
|
||||||
### Incorporation
|
|
||||||
|
|
||||||
If your studio is ready to incorporate as a cooperative, we can point you toward resources and service providers who understand cooperative structures. We don't provide legal advice, but we can help connect you with people who do.
|
|
||||||
|
|
||||||
And a reminder: you don't have to incorporate to work cooperatively. Many studios practice cooperative values and governance long before – or without ever – filing incorporation papers. The practices matter more than the paperwork.
|
|
||||||
|
|
||||||
[TODO-14: Develop resources, service providers, and readiness assessment. Tracked in Asana.]
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Collaborative Zine Making - 35 min
|
|
||||||
|
|
||||||
*Eileen leads this activity.*
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Closing - 5 min
|
|
||||||
|
|
||||||
You're about to re-enter an industry that defaults to hierarchy. Lawyers will draft conventional corporate structures. Funders will ask for a single point of contact. Publishers will want to know who's in charge. Your own teammates – under pressure – may reach for the familiar. This is expected. It's how we've learned to operate.
|
|
||||||
|
|
||||||
There is no self-made entrepreneur. Everyone is embedded in community – cooperatives just make that explicit. You've spent eight weeks building the muscle to do that together. Keep using it.
|
|
||||||
|
|
||||||
_What's something you're proud of from the program?_ _What conversation did you have that you wouldn't have had otherwise?_
|
|
||||||
|
|
||||||
---
|
|
||||||
|
|
||||||
## Homework
|
|
||||||
|
|
||||||
1. **Complete your personal assessment** – Do this before your studio meets. This is private, just for you.
|
|
||||||
|
|
||||||
2. **Complete your studio assessment together** – Meet as a studio and work through the template on your Miro board. This comes back to Baby Ghosts so we can understand where you're at and how to support you going forward.
|
|
||||||
|
|
||||||
[TODO-04: Add due dates for assessments]
|
|
||||||
|
|
||||||
And stay in touch. You're part of this community now. 👻👻👻
|
|
||||||
|
|
||||||
---
|
|
||||||
19
cron/Dockerfile
Normal file
19
cron/Dockerfile
Normal file
|
|
@ -0,0 +1,19 @@
|
||||||
|
FROM alpine:3.20
|
||||||
|
|
||||||
|
RUN apk add --no-cache \
|
||||||
|
bash \
|
||||||
|
docker-cli \
|
||||||
|
git \
|
||||||
|
nodejs \
|
||||||
|
npm \
|
||||||
|
openssh-client \
|
||||||
|
gzip
|
||||||
|
|
||||||
|
WORKDIR /app
|
||||||
|
|
||||||
|
COPY crontab /etc/crontabs/root
|
||||||
|
COPY entrypoint.sh /entrypoint.sh
|
||||||
|
RUN chmod +x /entrypoint.sh
|
||||||
|
|
||||||
|
ENTRYPOINT ["/entrypoint.sh"]
|
||||||
|
CMD ["crond", "-f", "-l", "2"]
|
||||||
6
cron/crontab
Normal file
6
cron/crontab
Normal file
|
|
@ -0,0 +1,6 @@
|
||||||
|
# Outline database + file backup — daily at 3 AM UTC
|
||||||
|
0 3 * * * /app/scripts/outline-backup.sh /backups/outline >> /var/log/outline-backup.log 2>&1
|
||||||
|
|
||||||
|
# Wiki content export to git — daily at 4 AM UTC
|
||||||
|
0 4 * * * /app/scripts/export-content-cron.sh >> /var/log/wiki-export.log 2>&1
|
||||||
|
|
||||||
25
cron/entrypoint.sh
Normal file
25
cron/entrypoint.sh
Normal file
|
|
@ -0,0 +1,25 @@
|
||||||
|
#!/usr/bin/env bash
|
||||||
|
set -euo pipefail
|
||||||
|
|
||||||
|
# Install node dependencies for export script
|
||||||
|
cd /app
|
||||||
|
if [ -f scripts/package.json ]; then
|
||||||
|
cd scripts && npm install --production && cd ..
|
||||||
|
fi
|
||||||
|
|
||||||
|
# Configure git for automated commits
|
||||||
|
git config --global --add safe.directory /app
|
||||||
|
git config --global user.email "wiki-bot@ghostguild.org"
|
||||||
|
git config --global user.name "Wiki Bot"
|
||||||
|
|
||||||
|
# Add git remote host to known_hosts so SSH doesn't prompt
|
||||||
|
mkdir -p /root/.ssh_tmp
|
||||||
|
cp /root/.ssh/* /root/.ssh_tmp/ 2>/dev/null || true
|
||||||
|
ssh-keyscan -t ed25519,rsa git.ghostguild.org >> /root/.ssh_tmp/known_hosts 2>/dev/null
|
||||||
|
export GIT_SSH_COMMAND="ssh -o UserKnownHostsFile=/root/.ssh_tmp/known_hosts -i /root/.ssh/id_ed25519"
|
||||||
|
|
||||||
|
echo "Cron jobs loaded:"
|
||||||
|
crontab -l
|
||||||
|
echo "Starting crond..."
|
||||||
|
|
||||||
|
exec "$@"
|
||||||
|
|
@ -68,6 +68,24 @@ services:
|
||||||
timeout: 5s
|
timeout: 5s
|
||||||
retries: 5
|
retries: 5
|
||||||
|
|
||||||
|
cron:
|
||||||
|
build:
|
||||||
|
context: .
|
||||||
|
dockerfile: cron/Dockerfile
|
||||||
|
container_name: outline-cron
|
||||||
|
restart: unless-stopped
|
||||||
|
depends_on:
|
||||||
|
- postgres
|
||||||
|
volumes:
|
||||||
|
- ./scripts:/app/scripts:ro
|
||||||
|
- ./content:/app/content
|
||||||
|
- ./.git:/app/.git
|
||||||
|
- /var/run/docker.sock:/var/run/docker.sock:ro
|
||||||
|
- ~/.ssh:/root/.ssh:ro
|
||||||
|
- ./backups:/backups/outline
|
||||||
|
env_file:
|
||||||
|
- .env
|
||||||
|
|
||||||
networks:
|
networks:
|
||||||
dokploy-network:
|
dokploy-network:
|
||||||
external: true
|
external: true
|
||||||
|
|
|
||||||
|
|
@ -7,18 +7,23 @@ set -euo pipefail
|
||||||
REPO_DIR="$(cd "$(dirname "$0")/.." && pwd)"
|
REPO_DIR="$(cd "$(dirname "$0")/.." && pwd)"
|
||||||
cd "$REPO_DIR"
|
cd "$REPO_DIR"
|
||||||
|
|
||||||
# Source env vars (line-by-line to handle unquoted values with spaces)
|
# Source env vars from outline.env if it exists (for host-based cron),
|
||||||
while IFS='=' read -r key value; do
|
# otherwise rely on env vars from docker-compose env_file
|
||||||
[[ -z "$key" || "$key" =~ ^# ]] && continue
|
if [[ -f outline.env ]]; then
|
||||||
export "$key=$value"
|
while IFS='=' read -r key value; do
|
||||||
done < outline.env
|
[[ -z "$key" || "$key" =~ ^# ]] && continue
|
||||||
|
export "$key=$value"
|
||||||
|
done < outline.env
|
||||||
|
fi
|
||||||
|
|
||||||
# Map Outline's URL to OUTLINE_URL if not already set
|
# Map Outline's URL to OUTLINE_URL if not already set
|
||||||
export OUTLINE_URL="${OUTLINE_URL:-$URL}"
|
export OUTLINE_URL="${OUTLINE_URL:-${URL:-}}"
|
||||||
|
|
||||||
|
# Support both OUTLINE_API_KEY (outline.env) and OUTLINE_API_TOKEN (scripts)
|
||||||
|
export OUTLINE_API_TOKEN="${OUTLINE_API_TOKEN:-${OUTLINE_API_KEY:-}}"
|
||||||
|
|
||||||
# OUTLINE_API_TOKEN must be set in the environment or in outline.env
|
|
||||||
if [[ -z "${OUTLINE_API_TOKEN:-}" ]]; then
|
if [[ -z "${OUTLINE_API_TOKEN:-}" ]]; then
|
||||||
echo "Error: OUTLINE_API_TOKEN is not set" >&2
|
echo "Error: OUTLINE_API_TOKEN or OUTLINE_API_KEY must be set" >&2
|
||||||
exit 1
|
exit 1
|
||||||
fi
|
fi
|
||||||
|
|
||||||
|
|
|
||||||
|
|
@ -153,7 +153,6 @@ async function main() {
|
||||||
path: docPath,
|
path: docPath,
|
||||||
parentDocument: parentTitle,
|
parentDocument: parentTitle,
|
||||||
outlineId: doc.id,
|
outlineId: doc.id,
|
||||||
updatedAt: doc.updatedAt,
|
|
||||||
createdBy: doc.createdBy?.email || doc.createdBy?.name || null,
|
createdBy: doc.createdBy?.email || doc.createdBy?.name || null,
|
||||||
};
|
};
|
||||||
|
|
||||||
|
|
|
||||||
Loading…
Add table
Add a link
Reference in a new issue